曹瑞原《孽子》電視劇中的臺灣酷兒憂鬱現代性

《孽子》裡的眾生相反映了臺灣酷兒的創傷經驗。無論那創傷經驗是不服從正常化的性別規範、逃逸自父權意識型態，抑或是分離自受限的地方空間，酷兒經驗呼應大時代下自我身分認同在現代性潮流中符合其異質性特色成為現代化進程的縮影。本文旨在探究2003年上映之同名《孽子》原著改編電視劇中酷兒的聚、散、離、合來描繪臺灣酷兒現代性。一方面將敘事焦點放在二二八新公園，使其成為臺灣酷兒受到空間限制的生命縮影；另一方面臺灣酷兒個人身分認同透過飄／漂浪自家中、「逃逸」至鄰近居家地區、乃至「跨國流動」而最終回到自我的家鄉。先前研究儘管已經對於原著《孽子》在性別議題、同志及後殖民論述、臺灣國家主義及現代性、國民黨政權與政治、父權社會、酷兒空間論述以及文學地景等議題多有所著墨；然而卻鮮少有研究反過來探討起源於歐陸如英法等現代主義崛起之類似文學憂鬱現代性，進一步延伸至臺灣70及80年代現代派小說之相關討論。再者，酷兒如何離開原生家庭，再現憂鬱現代性透過酷兒的跨國流動得以彰顯。因此，我將探討臺灣70、80年代酷兒飄／漂浪，透過言說大時代憂鬱現代性進一步點出國內及跨國酷兒流動而點出其個人身分認同。

關鍵字

《孽子》改編電視劇；臺灣酷兒飄／漂浪；憂鬱現代性；眾生相；國內及跨國流動

並列摘要

Multiple faces in "Crystal Boys" reflect Taiwan queers' melancholic experiences in modern times. Whether the modern queer's traumatic experiences be that nonconformity to normalized gender norms, departure from patriarchal ideology, or separation from confined spaces, those experiences correspond to queers' individual self-identity embedded in the contexts of modernity and the process of Taiwan's modernization in 70s and 80s. This paper mainly investigates how "Crystal Boys" as TV adaptation released in 2003 presents union, separation, divorce, and reunion as the heterogeneous discourses to portray Taiwan queer diaspora modernity. These heterogeneous discourses help magnify the narrative of Taiwan modernist novel. On the one hand, "Crystal Boys" as TV adaptation delves into the nationalist narrative mode, employing 228 New Park as the epitome of confined spatiality to Taiwan queers; on the other hand, this narrative mode helps shape Taiwan queers' individual selfidentity through a process of being consolidated through the unique queer "wandering from home" to its neighboring area, and to "transnational mobility" to his ultimate return back to home again. Previous studies have addressed the issues, such as gender and sexuality, postcolonial discourse, Taiwan's nationalism with modernity, patriarchal ideology in society, KMT regimes and politics, queer spatiality, modernist literary landscape. It is still unclear about how each individual queer might sadly depart from his/her original family and divorce himself/herself from normalized societal standards that set limit to the queer self-identity. Moreover, how 70s and 80s melancholic modernity imposed its impact on his/her identity or was represented through queer diaspora experiences is still rarely explored. Therefore, I would like to contextualize 70s and 80s queer diaspora through traumatic modernity to pinpoint domestic and transnational queer mobility in order to present contemporary Taiwan queers' self-identity. I hope that this paper can shed a light on a certain political combination of Taiwan queer diaspora and its contemporary contexts of melancholia with modernity.

並列關鍵字

"Crystal Boys" as TV adaptation ； Taiwan queer diaspora ； melancholic modernity ； multiple faces ； domestic and transnational queer mobility

參考文獻

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