想像的中國，失落的江湖－《臥虎藏龍》小說與電影之敘事隱喻

《臥虎藏龍》華語影片改編自民初王度廬鶴鐵系列武俠小說，由李安執導，並與外國朋友（夏慕斯James Schamus）一起編劇合作，演繹跨國文化經驗。當代國際漢學家（如：Jennifer Jay、Emilie Yuehyu Yeh、Darrell W. Davis、Whitney Crothers Dilley）曾關注影片內之中國意象、文化意義的追索，本文將接續討論，小說與電影如何闡釋其想像的中國意象，調和傳統武俠與現代性別之敘事表現，折射離散心理及國族認同，映現東方主義視野與華人文化。原著小說雖然跳脫性別藩籬，締造玉嬌龍女英雄形象，但她仍舊保留孝親與傳子等親族倫理，回歸想像的中國。然《臥虎藏龍》影片則大力發揮女英雄特質，玉嬌龍更欲脫離與拆解武俠世界（森嚴門派、門閥倫理、男女情事）之江湖迷障，完成反江湖的自主使命。放棄歸屬、認同迷失的玉嬌龍，猶有未完的結局，其不無喻示離散與失落於世界的華人，其集體之主體呼喚及認同焦慮。

關鍵字

江湖；全球化；東方想像

並列摘要

＂Crouching Tiger Hidden Dragon＂ movie adapted from Wang Du Lu's Crane Iron series of novels, directed by Ang Lee. He wrote the play along with his foreign friend screenwriter James Schamus, which interpreted the cross-cultural experience. Contemporary international sinologist (eg: Jennifer Jay, Emilie Yueh-yu Yeh, Darrell W. Davis, Whitney Crothers Dilley) show their concern about the image of China and the cultural significance of recourse in this film. This article will continue the discussion of how to explain Chinese images of imagination in both fiction and film, to reconcile the narrative performance of traditional martial arts and modern gender, to refract discrete psychological and national identity, and to reflect the current Orientalist vision and Chinese culture. Although the original novel escapes gender barriers, creating ＂Jen Dragon＂ heroine image, but she still retains filial relatives ethics. However, ＂Crouching Tiger Hidden Dragon＂ highlights the heroine character, Jen even wants to disengage from the dismantling of the martial arts world. To give up ownership, Jen, whose identity is lost. The open ending, which is the metaphor of Chinese's discrete and lost in the world, and the collective call and the identity anxiety.

並列關鍵字

jiang-hu ； globalization ； oriental imagination

國際替代計量

想像的中國，失落的江湖－《臥虎藏龍》小說與電影之敘事隱喻

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