從偉大到日常－《黃色小說》的情色矛盾與自我技術

本研究重心聚焦在《黃色小說》，緊扣「性色／書寫」這兩個面向的分析與相互連結，論述這部作品在二十一世紀初台灣文學場域裡的殊異性。藉由書寫二十一世紀的性色耗費，《黃色小說》彰顯性色文化自身的「極致」與「侷限」本來就是一體兩面之事。本文認為，文學傳統裡的情色敘事―從誡淫、誨淫乃至啟蒙、基進，大多是在社會文化脈絡上扮演「偉大性」的象徵功能。二十一世紀的《黃色小說》則嘗試打開台灣後現代情色文本裡尚未被開發的特質，凸顯「日常性」及其矛盾。尤有甚者，從「慾望的敘述」到「敘述的欲望」，文本除了流露小說家對自身文學身分與書寫意義的鮮明意識，更彰顯在二十一世紀文學生態裡寫作的「風格學」與「生存美學」。是以本研究亦將透過《黃色小說》的「自我指涉」書寫特質，兼及作家個人的文學觀，進一步觀察黃崇凱作為新世紀台灣文學場域新競逐者的「自我技術」。

關鍵字

情色文學；黃崇凱；《黃色小說》；偉大性；日常性；自我技術

並列摘要

Focusing on Huang Chong Kai's Blue Fiction, this research centers on the interweaving of ＂sex/writing＂ dimensions in order to explore the peculiarity of this work as situated within the field of Taiwan literature in the 21st century. By writing about sex consumption in the era of globalization, Blue Fiction proposes that ＂extremity＂ and ＂limitation＂ are the two sides of the same coin. This paper argues that the erotic narrative in literary tradition--from abstinence, obscenity, enlightenment, to radicality-- has symbolized sexual greatness in a sociocultural context. However, Blue Fiction tries to open up topics which have not been explored in Taiwan's postmodern erotic text, foregrounding everyday sexuality and its paradoxes. Moreover, from the ＂narrative of desire＂ to the ＂desire for narrative,＂ the text not only expresses the novelist's consciousness vis-avis his own literary identity and significance, but also articulates the Foucauldian terms of ＂stylism＂ and ＂aesthetics of existence＂. Thus, this research looks at the ＂self-referential＂ techniques in Blue Fiction and the novelist's view of literature to further examine ＂the technology of the self＂ of Huang Chong Kai as a new competitor in the new era of Taiwan literature.