她／他是女／男人嗎？：論安潔拉‧卡特《新夏娃的激情》及費雷斯《藍調石牆T》中跨性別主體的體現

Is S/he A Wo/man?: Embodying the Transsexual/Transgender Subject in Angela Carter’s The Passion of New Eve and Leslie Feinberg’s Stone Butch Blues

張焮棋(Sin-Chi Chang)

指導教授 ： 楊雅筑

淡江大學/外國語文學院/英文學系碩士班/碩士(2018年)

https://doi.org/10.6846/TKU.2018.00401

摘要

本文研究以跨性別及女性主義角度來研究兩本跨性別小說:安潔拉・卡特的《新夏娃的激情》及費雷斯的《藍調石牆T》中藉由變性手術及扮裝探討身心二元論及性別認同的關聯，進一步檢視跨性別主體如何面對文化建構中的異性戀霸權、同性戀的排他性及性別暴力而重新再現自我認同。
第一章將探討安潔拉・卡特《新夏娃的激情》中跨性別主體艾弗林/夏娃被迫接受變性手術進而產生身體及心靈上的二元對立，在性別認同及改造身體的交互影響下進一步探討母親的閹割及鏡像關係，導致艾弗林/夏娃對於自身的男性主體性的瓦解及對女性身體的排斥。
第二章則探討《新夏娃的激情》中跨性別主體艾弗林/夏娃如何透過性別展演的方式來體現出刻板的女性形象，艾弗林/夏娃基於跨性別的身心二元對立的問題及模仿其她女性行為中省思性別不平等及異性戀霸權對於跨性別的排他性暴力，藉此思考二元性別機制在文化規範中權力、知識及語言使性別強制性地被物質化而形成異性戀的規範性理想及自然化的虛幻。
第三章探討費雷斯《藍調石牆T》中跨性別主體潔斯．戈柏敘述因自身的性別倒錯在異性戀家庭、學校、醫院、職場、公共場所及社會運動中體驗到的羞恥，進而認知到在互為主體性的關係中自身的主體性在其他的主體中被認為是他者，藉由縮胸手術及注射男性賀爾蒙促使潔斯的女性身體體現出男性形象並躲避異性戀暴力及同性戀的排他性，因此羞恥的跨性別經驗來探討自我性別認同的矛盾及重新建構跨性別的主體成為本章的重點。
總結以上對於安潔拉・卡特的《新夏娃的激情》及費雷斯《藍調石牆T》的討論，身體的改造、身心二元對立及抵抗性別暴力點出跨性別主體性的自我矛盾及面對異性戀霸權及同性戀排他性困境，藉此顯現出社會對於跨性別主體或性別多樣化的質疑及省思。

關鍵字

安潔拉・卡特 ； 費雷斯 ； 跨性別主體 ； 性別展演 ； 變性

並列摘要

This thesis will study two transsexual and transgender novels, Angela Carter’s The Passion of New Eve (1982) and Leslie Feinberg’s Stone Butch Blues (1992), to investigate the two transsexual/transgender characters’ manipulation of the function of sex reassignment surgery and gender performativity to consider the problem of transsexual/transgender identity and sexual/gender disintegration. This study also further examines how the transsexual/transgender characters tackle the cultural construction of heterosexual hegemony, homosexual exclusivity, and sexual violence to re-embody their transsexual/transgender identity.
Chapter one focuses on Angela Carter’s The Passion of New Eve to analyze the transsexual character Eve/lyn, who compulsorily accepts the sex reassignment surgery to engender the bodily metamorphosis of male-to-female body. Because of the bodily metamorphosis, Mother’s castration results in Eve/lyn not only censuring hers/his deconstruction of male subjectivity but also excluding her/his male-to-female body.
Chapter two examines Eve/lyn’s embodiment of the stereotype of female images via gender performativity. In considering transsexual/transgender mind-body opposition and her/his imitation of other women’s behaviors, Eve/lyn condemns the binary sexual/gender mechanism which forcibly materializes the regulatory ideal of heterosexuality in cultural norms.
Chapter three will examine the transgender character Jess Goldberg whose masculine woman image narrates his/her experience of shame in different situations and occasions in Leslie Feinberg’s Stone Butch Blues. Jess recognizes that his/her image as a masculine woman is always regarded as the other rather than a subject. Hence, in order to avoid shame and sexual violence, Jess decides to undergo a breast reduction surgery and inject male hormones, which hides his/her real biological sex to pertain to the normality of a masculine man in a heterosexual society. However, even though Jess successfully embodies a heterosexual man, the feeling of shame still affects his/her self-ambivalence with regard to his/her sexual/gender and self-identity. In the novel, the relation of shame and transgender experience is important to the exploration of the ambivalence of self-identity and the reconstruction of transgender subjectivity.
In analyzing of Angela Carter’s The Passion of New Eve (1982) and Leslie Feinberg’s Stone Butch Blues (1992), issues of bodily metamorphosis, mind-body opposition, and the resistance of sexual violence point out the quandaries of the ambivalence of transsexual/transgender subjectivity, heterosexual hegemony, and homosexual exclusivity to further investigate the transsexual/transgender subjectivity and sexual diversity in our society.

並列關鍵字

Angela Carter ； Leslie Feinberg ； Transsexual ； Transgender ； Bodily metamorphosis ； Gender performativity ； Shame

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