愛、感染與酷兒式死亡：重讀華語語境下與田啟元《白水》中的「愛滋」

本研究希望從一個與以往不同的角度來看待「愛滋」（英文縮寫為AIDS, 台灣全稱為「後天免疫缺乏症候群」），並關注愛滋在華語語境中的獨特隱喻。首先，通過把關注點從英文的「AIDS」轉移到「愛死」和「愛滋」這兩個中文翻譯上，本研究把「愛滋」放在一個更廣闊的、關於「愛」尤其是「同性愛」的翻譯和現代化進程中，並將愛滋時期視為華語世界自五四以來第二個重要的與「同性愛」相逢的時刻。隨著「愛死/滋」一詞的翻譯，以及當中對「同性愛」的影射，「同性愛」在台灣再次成為一種現代現象，引發大量關注、討論和探究。我將分析這一時期媒體以及權力機關等公共領域對「同性愛」的研究和治理中出現的新特徵。除此之外，透過研究各種話語論述、文化現象以及文學作品，我發現華人社會中深植著一種與「愛」(滋)有關的獨特文化隱喻：正如從一開始將「AIDS」翻譯成「愛死」和「愛滋」已經揭示了，對華人社會而言，「愛滋」不僅意味著愛滋病毒的感染，「愛死」也不僅意味著同性戀者的生理死亡，而是在文化象徵層面上代表了變態同性「愛」的「感染」所導致的家族血脈的污染以及儒家文化下父系家族制的「死亡」。本研究的第二部分將以台灣劇作家和導演田啟元於1993年創作的戲劇《白水》為例，探討田啟元作品中所體現的此一華語語境中的愛滋隱喻。田啟元作品中的「愛滋」（「愛」的「蔓延感染」）寓言事實上也為我們帶來一種酷兒式思考：我們可以將「愛滋」原本所連帶的負面意涵轉化為一種「變態之愛」的「感染」政治，去擾亂顛覆華人社會的父系-父權制度。本研究其中一個重要的對話對象是我們所身處的「後愛滋」現狀。在這個「後愛滋」時代，台灣主流LGBT運動的政治議程重心轉向了同性婚姻。然而，本研究認為，近年來（自由主義的）同婚運動所宣揚的「同性愛」，事實上迎合了主流關於「愛」的保守價值，也無意識中強化了異性戀父權婚家制度。本研究透過重讀田啟元於上世紀80、90年代創作的《白水》以及其他與「愛滋」相關的作品，將進一步討論田啟元對「（同性）愛」的酷兒式理解可以如何幫助我們從反父系制度的角度重新思考同性愛和同性婚姻在當代華人社會中的基進性。為了更好地闡明田啟元的觀點之於當代的意義，本研究最後亦簡略著眼於當下我們所身處的COVID-19情境，我會討論田啟元從「愛滋」發展出來的關於愛和病毒的獨特想法以及「感染」政治，可以如何持續回應和挑戰從愛滋到COVID-19病毒大流行華人社會中不斷出現的「家族血脈污染」的父權文化隱喻。

關鍵字

愛；愛滋；感染；父系家族制；酷兒；田啟元；《白水》

並列摘要

This study attempts to view AIDS from a different perspective and to draw attention to the singular metaphor of AIDS in the Sinophone context. Firstly, by switching “AIDS” with aisi and aizi, the two transliterations of AIDS in the Sinophone context, this study puts aisi/aizi within a larger modernizing process of love (ai), in particular, same-sex love (tongxing ai), and views the AIDS period as the second significant modern “same-sex love” moment in Sinophone world when heated discussions on and massive investigation into the phenomenon of “same-sex love” restarted since the May Fourth period. I will analyze the new features that emerged along with the inspection and governance of “same-sex love” during this period. Despite this, through examining various discourses, cultural phenomena, and literary works, I find that an underlying cultural metaphor of AIDS correlated with “love” has been imbedded in Sinophone societies and has been revealed through the translation of AIDS: intertwined with “same-sex love” (ai) and associated with the shadow of “contagion” (zi) and “death” (si), AIDS not only means the contamination of viruses and the biological deaths of the homosexuals, but signifies the contagion of perverse love, the pollution of the family’s bloodline, and the horrifying termination (“death”) of the family’s patrilineage for people in Confucian societies at a symbolic level. This study will use Taiwanese playwright and director Tian Chi-yuan’s play White Tide (1993) as a further example and demonstrate how Tian implants this metaphor of AIDS in his work. Tian’s allegory of aizi (contagion of love) also inspires us with a possibility of queering the meanings of AIDS/aisi/aizi and transforming their negative connotations into queer politics of the spread and invasion of “perverse” love that could subvert the patrilineal-patriarchal system in Sinophone societies like viruses. I will simultaneously discuss how these queer ideas about love and virus as displayed in Tian Chi-yuan’s White Tide and other AIDS-related plays in the 1980s and 1990s could help us rethink the radicalness of same-sex love and marriage from an anti-patrilineal aspect in our “post-AIDS” age, when same-sex marriage becomes the primary agenda of Taiwan’s LGBT movement and a conservative value of “(same-sex) love” as well as a patriarchal marital/familial pattern have actually been advocated in those liberal campaigns. To better illustrate the significance of Tian’s thoughts in contemporary circumstance, at the end of this study, I will also briefly discuss how Tian’s ideas about aizi continue to challenge the cultural metaphor—the pollution of Chinese family bloodline and the termination of the family’s patrilineage—that lasts from AIDS to the COVID-19 pandemic today.