「活著的一隻被魔法詛咒成水泥化石的巨獸」《西夏旅館》的偽巴洛克違章結構

＂An Organic Behemoth Fossilized by a Black Magic Curse＂-The Pseudo-Baroque Illegal Structure of Tangut Inn

辜炳達(Ping-Ta Ku)

《中外文學》 44卷3期 (2015/09) Pp. 177-211

https://doi.org/10.6637/CWLQ.2015.44(3).177-211

摘要

《西夏旅館》四十七萬字的龐大結構曾被黃錦樹評為漫無節制，但本文認為只有憑藉著過度增生的書寫意志，駱以軍才能建築他的偽巴洛克空間。楊凱麟曾直指駱以軍「呈現巴洛克書寫的極限」，但相對於楊凱麟的德勒茲式閱讀，本文試圖將《西夏旅館》的文學空間重疊在台灣錯綜複雜的歷史脈絡上，並且追問駱以軍的「巴洛克建築狂想」究竟從何而來。在台灣的建築語境中談論到巴洛克風格，我們常直覺性地想起日本殖民時期的擬洋風或和洋折衷建築。從建築史的時間軸來看，擬洋風及和洋折衷建築顯然不能被歸類為巴洛克，它們充其量只是挪用了巴洛克時期的建築語彙。然而，就空間概念上來說，日本殖民建築和巴洛克建築皆展示了威權、秩序、監視、光。上述四個特徵和《西夏旅館》昏暗狹窄的空間結構無疑大相徑庭，因為西夏旅館是國民政府迫遷來台後臨時加蓋在日式都市平面上的違章眷村建築。《西夏旅館》捕捉到台灣總是介於各個殖民政權過渡時期的歷史失重感，而戰後台灣城市中盤根錯節的違章建築正是例外狀態（＂stato di eccezione＂）的顯影－在懸置法律的法外空間恣意生長。作為一幢隱喻性的違章建築，《西夏旅館》拼貼歪斜的語言結構亦顯現另一種例外狀態：一種遊走於文法空間之外的書寫。

關鍵字

駱以軍 ； 《西夏旅館》 ； 違章建築 ； 巴洛克 ； 異托邦 ； 例外狀態

並列摘要

Kimchew Ng has once accused Yijun Luo's 470,000-word ＂Tangut Inn＂ of being monstrously excessive, but this paper contends that Luo's feverish will to write towards infinity grants him the possibility to create a pseudobaroque space. Kailin Yang has pointed out that Luo ＂displays the limit of baroque writing,＂ but this paper aims to read ＂Tangut Inn＂ in relation to Taiwan's complicated historical background, and tries to trace the source of Luo's ＂Baroque fantasy of architecture.＂ In Taiwan, the ＂Baroque style＂ is often erroneously used to refer to Pseudo-European or Semi-European buildings constructed under Japanese rule. As far as the history of architecture is concerned, the Baroque era ended around 1725, yet such Japanese colonial architecture is indeed conceptually evocative of Baroque architecture, for both emphasize sovereignty, order, surveillance and light. These four characteristics define what ＂Tangut Inn＂ is not: the space of ＂Tangut Inn＂ is dark and cramped, and its structure resembles a temporary ＂military dependents' village＂ that is illegally built upon a former Japanese colony. ＂Tangut Inn＂ mirrors Taiwan's perpetual state of being colonized by different sovereignties and Taiwanese people's apathy towards history. Such a state of exception (＂stato di accezione＂) is reflected by Taiwan's chaotic cityscape, where illegal structures multiply outside the legitimate space. As a metaphorical illegal structure, the chaotic pastiche of ＂Tangut Inn＂ displays another state of exception: a writing that is located outside the grammatical space.

並列關鍵字

Yijun Luo ； ＂Tangut Inn＂ ； the illegal structure ； the baroque ； heterotopia ； the state of exception

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