女作家的越界書寫與現代性想像： 以徐鍾珮、吉錚、三毛為例

The Border-Crossing Writing and Imagined Modernity－ A Study of Taiwanese female writers: Hsu Chung-Pei, Ji Zheng, and Sam-Mau

金瑾(King, Chin)

指導教授 ： 柳書琴

國立清華大學/人文社會學院/台灣文學研究所/碩士(2017年)

摘要

現代性想像的概念，源自於後殖民理論的東方主義視線與西方主義的回眸，現代性成為相對光譜，「西方」成為現代性的代言人。對第三世界國家而言，必須面對遲來的現代性焦慮，以及必須急起直追的窘境，因此，複製西方國家的腳步已成固定不變的程序，凝視西方並將西方所嶄露的現代性印象作為複製依據，其實就是一種對現代性的想像。在現代性的光譜上，也將先進與西方國家相聯繫、將己身放置於落後的一方。當現代性想像被侷限為「西方」時，那麼落後的焦慮就會一直出現在後殖民的社會裡，透過凝視西方、凝視自身，並與西方投射過來的視線相交錯，形成難以言說清楚但始終如影隨形的現代性想像。
　　透過分析三位作家的生命經驗，第二章以徐鍾珮開展現代性想像軌跡，從她歷經的五四餘波、新生活運動與女德復興運動、抗戰的「重慶精神」間的交互作用，發現徐鍾珮呈現出的矛盾，實乃深受民族主義影響之故。徐鍾珮前往英國的經驗，也促使她觀察到這些理念被實踐的具體過程與現象，在徐鍾珮眼中，一樣是沒落帝國，英國將節儉愛國實踐徹底，卻幾乎人人毫無怨言，在她眼中指涉文明與進步的現代性意涵，不在於物質上的進步，而在於整個國家如何齊心面對現況與未來，而這也是她民族主義與現代性想像結合後，作為余風時的主要論述。
　　第三章的吉錚為美國夢的代表，她前往美國留學成家，卻意外從台灣的階級中心走向美國的邊陲，當她帶著台灣社會集體對文明進步、良好發展的期望而來，卻在現實中不得不悄然落淚。美國夢實踐與破滅是現代性想像濃縮於她身上的結果，物質的現代性想像獲得滿足後，轉而追求精神層次上的現代性，這已經和台灣社會集體的美國夢氛圍有所不同。同時，吉錚的多重身分彼此之間拉扯，既有外省二代開始面臨的失根焦慮：祖國（中國）、成長地（台灣）與該往的終點（美國）三者之間，難以寄託認同；而女性的社會侷限，使得在異地的孤寂和辛苦更為顯目。
　　第四章更進一步的以三毛的精神叛逆進行分析，首先爬梳她早期的作品與家書，拼湊出她對於赴美的質疑與文化中國的認同內涵，再以她的沙漠書寫與迦納利群島書寫進行參照，在行文中三毛展現了被觀看－觀看－反觀看的三角視線關係，呈現雙重東方主義的多重結構。促使三毛前往撒哈拉沙漠的《國家地理雜誌》原先設定的閱讀群眾便是歐美知識分子，三毛在這樣的環境中，雖以叛逆之姿前往沙漠，但更多的還是證明自我、對台灣現有的現代性想像和留學途徑有所微詞的結果。當時台灣的外交困境、經濟使三毛追求心靈自由、以中國認同自居的散文炙手可熱，遂成三毛旋風，但也因此可以窺見文本中三毛質疑台灣社會裡的現代性想像仍需以「西方」作為背書。
　　本文選取三位女作家的越界書寫與生命經驗，進行現代性想像的對話。藉由越界的過程中，感受光譜上相對位置的「西方」與「東方」之間的視線交錯，藉由成為異域的他者，更能清楚回眸台灣社會，並突顯「現代性」的想像痕跡。「現代」是相對概念，因此在與他國的互動中，感受、衝擊都有助於理解後殖民社會裡的現代性焦慮，以及對現代所抱持著想像內涵。三人所勾勒出來的現代性想像都擁有強烈的時代因素，徐鍾珮的固根、吉錚的失根，到三毛的復根，三人的現代性想像，卻依舊無法脫離後殖民視野的脈絡。筆者將現代性想像的概念融入作家與文本之中，試圖討論時代因素，與象徵心靈狀態的文本若干，直指現代性想像在越界書寫中，不僅是自我期許與實踐的想望，也帶著觀看與被觀看的視線和省思，藉由越界的過程，在主體與他者間變換身分，進而更顯著地看見現代性想像的痕跡。

關鍵字

現代性想像 ； 徐鍾珮 ； 吉錚 ； 三毛 ； 後殖民 ； 越界書寫

並列摘要

The concept of Imagined Modernity comes from the orientalist view of postcolonial theory and the West in eyes by the East. Modernity has become a relative spectrum, and the "West" has become the representative of modernity. For the third world countries, it is necessary to face the late modern anxiety, and the urgent need to catch up with the dilemma, so the pace of replication of Western countries has become a fixed procedure, staring at the West and the West revealed modernity Impression as a basis for copying. In fact, it is a kind of imagination of modernity. In the spectrum of modernity, it will also link the advance to the western countries, but place itself in the backward side. When the modernity imagination is confined to the "West", then backward anxiety will always appear in the post-colonial society. By staring at the West, staring at themselves, and with the West projected over the line of sight, forming an indefinable but always Imagination of Modernity.
Through analyzing the life experience of the three writers, the second chapter uses Hsu Chung-Pei to carry out the Imagined Modernity trajectory, and from the interaction between the May 4th Movement, the New Life Movement and the Chongqing Spirit, Showing the contradictions, it is deeply affected by nationalism. Hsu Chung-Pei to the British experience, but also prompted her to observe the practice of these ideas are the specific process and phenomenon, in the eyes of Hsu Chung-Pei, like the decline of the empire, the United Kingdom will be thrifty patriotic practice thoroughly, but almost no complaints in her eyes The modernity of civilization and progress does not lie in the material progress, but in how the whole country is faced with the present situation and the future, which is the main exposition of the nationalism and modernity imagination.
In the third chapter, Ji Zheng, the representative of the American Dream, went to study in the United States, but unexpectedly moved from Taiwan's class center to the United States. When she took Taiwan society's collective expectation of the progress and development of civilization, Reality had to quietly tears. The dream of the American Dream is the result of modernity imagination concentrated on her. After modern materialistic imagination is satisfied, the pursuit of modernity at the spiritual level has been different from the Taiwanese society's collective American dream atmosphere. At the same time, the multiple factors of Ji zheng are pulled apart from each other, and the anxiety of the second generation of the other provinces is beginning to fall: the motherland (China), the place of growth (Taiwan) and the end of the country (the United States) ; And women's social limitations, making the lonely in different places and hard work is more prominent.
The fourth chapter goes further to San-Mao's spiritual rebellious analysis, first of her early works and family books, put together her questions for the United States and cultural identity of China's identity, and then written in her desert and Ghana In the writing of the San-Mao show was watched - watch - reverse view of the triangle line of sight, showing the dual structure of multiple orientalism. San-Mao, in this environment, although the rebellious posture to the desert, but more or to prove that the self, the Taiwan existing (http://www.loveallnews.com/). The modernity of imagination and the way of studying abroad. At that time Taiwan's diplomatic difficulties, the economy so that the pursuit of spiritual freedom San-Mao, to identify themselves with the Chinese prose hot, then into a whirlwind of San-Mao, but also can see the text of San-Mao questioned the modernity of Taiwan society imagination still need to " "As an endorsement.
This paper chooses three female writers' transcendental writing and life experiences to carry on the dialogue of modernity imagination. Through the process of crossing the border, we can feel the crossroads between "the West" and "the East", which is the relative position of the spectrum, and become a foreigner, and can clearly see the society of Taiwan and highlight the imagination of "modernity" . "Modern" is a relative concept, so in the interaction with other countries, feelings, shocks are conducive to understanding of post-colonial society, the anxiety of modernity, as well as the imagination connotation. The modernity imagination of the three people has the strong time factor, the root of Hsu Chung-Pei, the root of Ji zheng, the complex root of San-mao, the modernity imagination of three people, but still can not leave the context of post-colonial vision . The author combines the concept of modernity imagination into the writers and texts, tries to discuss the factors of the times and the text of symbolic state of mind, and points out that modernity imagination is not only the expectation of self-expectation and practice, With the sight and reflections of being viewed, transcending the identity between the subject and the other through the transcendental process, and more strikingly the traces of the imagination of modernity.

並列關鍵字

Imagined Modernity ； Hsu Chung-Pei ； Ji Zheng ； San-mao ； post-colonial ； Border-Crossing Writing

參考文獻

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