論孫悟空形象符號的意涵──以周星馳九○年代電影與《悟空傳》為討論文本

《西遊記》故事由玄奘西行取經之史實所演變，最後成書於吳承恩。縱觀《西遊記》演變過程以及之後承其之作品，可得一個連續的「西遊」故事脈絡，當中諸多文本結構之不同，實為不同時代的作者（群）、閱聽人和文本對話、協商之結果。「西遊」文本極具語言的功能性，實為載有不同時代意識形態、意義的語言結構符號，而《西遊記》只為其之言語實踐。在《西遊記》中，孫悟空是極為重要的一角，其形象始於《大唐三藏取經詩話》的「猴行者」，經元代雜劇以及《西遊記平話》的增添改寫成「通天大聖」、「孫行者」，成今人所識之吳承恩《西遊記》中的「齊天大聖」孫悟空。其形象符號的結構之演變，是隨著「西遊」故事的脈絡進程，因不同時代的需求而具有當時代的意指性，為一個具當時代「神話性」的語言結構系統。但由於《西遊記》文本結構中歷史性和主體性的複雜關係，是以閱讀、分析更甚研究《西遊記》以及當中孫悟空形象的符號結構時，難以追溯文本中諸多能指的意指性所指之意義；以及在閱讀文本不應該追求文本中的唯一「真實」意義，而應觀及其在當代的意義所在，故應著重「西遊」故事的語言結構功能在現今的話語實踐。而在當代，周星馳九○年代電影作品《西遊記第壹百零壹回之月光寶盒》與《西遊記大結局之仙履奇緣》中孫悟空的形象，不但引起中國大陸學界各方面研究、討論，亦成為當代另一個孫悟空的典型，產生後續不少脫胎於其之影視與文學作品。然而，其實在「西遊」脈絡下，孫悟空符號的語言結構之言語實踐，且載有香港「九七回歸」的身份認同問題之意義。本論文通過羅蘭‧巴特的符號學作視角觀照，對《西遊記》經典文本以及周星馳九○年代「西遊」電影以及《悟空傳》電影文本細讀，分析孫悟空形象在香港「九七回歸」中的言語實踐。

關鍵字

羅蘭‧巴特；西遊記；孫悟空；大話西遊；九七回歸；悟空傳

並列摘要

The Journey to the West, written by Wu Cheng’en, is evolved from the historical fact of the monk Xuanzang traveling to the “Western Regions”. Looking through the development of the Journey to the West and the text adaptation derived afterwards, it is possible to get a continuous progress of “Xiyou” narrative over time, in which we can observe the difference of narrative structure between various works. This is attributed to the ongoing conversation and consultation between texts, audience and author from all over the era. The literature “Xiyou” is highly valuable for its linguistic function, which involves various linguistic structural sign of different eras of ideology and significance through the perspective of semiology. The Journey to the West is merely the actual practice of linguistics. Sun Wukong, an fairly important role in the Journey to the West, is also recognized as Sun Wukong the Wandering Monk from the development of Zaju of Yuan dynasty and some other works in history. After then did he go under the title “The Great Sage, Heaven’s Equal” in the novel The Journey to the West by Wu Cheng’en. The structural evolution of his image symbol is corresponding to the contextual process of the narrative “Xiyou”, and will have the meaning of the time in response to different demand of different era. It is considered to be a mythical system of linguistics structure of the time. However, due to the complicated relation between the historicity and subjectivity in the textual structure of the Journey to the West, it is difficult to trace the meaning of the implied signified of signifier when study is carried out. We ought not to pursue the one and only “actual” significance of the text, but to concern about the contemporary significance in it. Thus it is expected to focus on how the linguistic structural function of the “Xiyou” narrative execute in the contemporary actual linguistic practise. In current times, talking about the 90’s movie: A Chinese Odyssey Part 1: Pandora’s Box and A Chinese Odyssey Part 2: Cinderella, which mainly participated by Stephen Chow Sing Chi, the image of Sun Wukong in the movie has raised many discussion and study of different perspectives among chinese academia. Also this image of Sun wukong created in the movie has become an archetype of the present age, and has boosted to the adaption of film and literature. However, the movies is in fact the actual practice of the linguistic structure of the sign of Sun Wukong, and also involves the significance of identity under the 1997 Hong Kong Reunification. This thesis takes the semiology of Roland Barthes as perspective to do the textual analysis of 90’s movie of “Xiyou” by Stephen Chow Sing Chi, and the movie “Wu Kong” (2017), in order to analysis the actual linguistic practice of the image of Sun Wukong under 1997 Hong Kong Reunification.