“被看”的“看”與三種主體位置：魯迅“幻燈片事件”的後（半）殖民解讀

如果說在後殖民主義的視野中，形成了西方對東方的看與被看的權力關係，那麼對於被看的東方來說，這種視覺經驗是如何發生的呢？本文試圖以中國現代文學史的發端處－魯迅關於自己從事現代文學事業的敘述，也就是著名的「幻燈片事件」－來呈現這種「視覺性遭遇」所造成的複雜的現代性經驗，尤其是在這個場景中，中國人的主體位置被分裂為三個：「我」、看客與被砍頭者，這不僅帶出了中國的後殖民經驗，更與中國的半殖民地境遇相關。我基本上從三個方面來處理這個問題：一是魯迅獲得啟蒙者的身分與發生「幻燈片事件」的教室／劇場空間有著內在的聯繫，或者說魯迅獲得觀看的權力來自於他作為學生／觀眾的身分；二是看客並非只是魯迅眼中麻木的國民代表（一個「被看」的「看客」），還充當著觀看的功能（魯迅筆下的「戲劇的看客」），這種看客／圍觀者不僅使得狂人、孤獨者等啟蒙者處在被觀看的位置上，而且把一種外在／日本人的凝視轉移為一種內部的觀看，魯迅也由一個觀看者／啟蒙者／醫生變成了被觀看的物件／病人（如狂人）；第三是在「幻燈片事件」中，這些處在日俄戰爭時期的中國人／滿洲人／東北人，同時被魯迅和他的日本同學的視線雙重放逐，被放逐的還有懸在被砍頭者頭上的日本軍刀，對於魯迅所進行的改造國民性的方案來說，這意味著對被殖民／被砍頭者的遮蔽，而對於日本同學的歡呼勝利來說，這意味著亞洲想像的內在悖論：魯迅和被砍頭者無法分享「亞洲」的勝利。

關鍵字

看與被看；幻燈片事件；看客；被砍頭者

並列摘要

If the ”seeing” and ”been seen” power relation between the West and the East derived from the context of post-colonialism, then, how did the visual experience come into being for the ”been seen” East? This paper, starting with Luxun's narration upon his engagement with Chinese Modern Literature, attempts to reveal the complex experience of modernity resulting from visual experience with respect to the well-known ”slides show incident”, and mainly aims at uncovering Chinese split subject positions: Luxun/I, onlookers and the beheaded, which connect closely with Chinese post-colonial experience and history. The author deals with the topic in three sections as follows. Firstly, Luxun's identity as pioneer of enlightenment has an internal relationship with the classroom/theatre where the ”slides show incident” happened. Secondly, the onlookers, in Luxun's view, are not just typical examples of apathetic Chinese people, and they also signify the ”seeing” position. They act as viewers of dramas, as Luxun said, who place the enlighteners such as the madmen and the lonely to a ”being seen” position, and transform the external/Japanese gazing into an internal ”seeing”. Meanwhile, Luxun himself has changed from a viewer/enlightener into a ”being seen” object such as a patient or a madman. Thirdly, those Chinese/Manchurian/Northeastern Chinese who suffered from the Japanese-Russian War are dually exiled by Luxun and his Japanese classmates, the Japanese sabers being exiled as well. As for Luxun's ambition of Remolding Chinese National Character, this undoubtedly means the overshadow of the colonized and beheaded, while for those cheerful Japanese students, it signifies the internal contradiction of Asian imagination. Luxun and those beheaded will never be included in the so-called Asia or share its victory.