死亡與事件：《賽德克．巴萊》的生命觀

魏德聖導演的《賽德克．巴萊》是一部探討霧社事件的影片，描繪賽德克族遭受日本殖民政府壓迫並起而反抗，由於處理的是真實歷史素材，自然引發多方討論，其中尤以莫那．魯道的英雄形象備受爭議。筆者認為重點不在質問莫那．魯道究竟是個英雄或歷史罪人，而應聚焦在探問霧社事件究竟開啟了何種域外（不）可思考的空間，供我們思索魏德聖透過此象徵人物所帶出的可能意涵與對當代的意義。本文援引德勒茲的死亡與渾沌宇宙概念，企圖探討血祭祖靈的死亡儀式如何幫助族人突破殖民秩序，進入祖靈生命並脫離同一性。若我們將死亡當作一個「無人稱事件」，並且將莫那．魯道視為一個「概念性人物」，我們將進到一個無人稱的潛態宇宙。潛態宇宙並不會抹煞個體性，而是允許每一個肉身化死亡的個體都有機會成為概念性人物，共同進入潛態宇宙的生命之流。賽德克人的反抗是重大事件，特別能將個體推向潛態宇宙，同時結合秩序的反面，也就是渾沌，形成「渾沌宇宙」。德勒茲的渾沌宇宙概念幫助我們理解族人如何含納與表達歧異，形成獨特的自我特異性。族人從渾沌借取武器對抗日本殖民秩序，期望能達到情感與政治的連結。這時死亡代表不可思考的渾沌失序力量，幫助族人脫離被化約成野蠻「非人」的命運，成為「賽德克．巴萊」──真正的人。反抗使個體進入潛態，飛掠於現實化之上，成為既是你我他，亦非你我他的潛態／現實雙面體。每一個有覺知的個體所表達出的巴洛克視域綻放為如水晶結晶般獨一無二的朵朵緋櫻。

關鍵字

《賽德克．巴萊》；莫那．魯道；霧社事件；死亡；渾沌宇宙；無人稱事件；祖靈之家；概念性人物

並列摘要

In his 2011 film Seediq Bale, Wei Te-Sheng explores a controversial historical event, the Wushe Incident of 1930. Critics and aboriginal people hold opposing views on whether Mouna Rudo, chief of one of the Seediq tribes and leader of the revolt against the Japanese colonial administration, is a hero. The concern of the present article is how Wei Te-Sheng depicts the significance of this symbolic event of death. I attempt to shed light on the issue with recourse to an impersonal view of death and to a vision of Mouna Rudo as a conceptual character, through whom the significance of death can be revealed. Deleuze considers Death as an Event of Events, an impersonal event. Death in this film, if viewed via Deleuze's concept of Event, transforms the seemingly inhuman Seediq people into ＂Seediq Bale,＂ real human beings and also into Blanchot's ＂on＂: impersonal persons. Death is the chaotic energy that subverts the Japanese colonial force, extends the Seediq tribes' Gaya, allows the people to return to their ancestors' heavenly home, and turns their world into a chaosmos. This way, every dying Seediq in the Wushe Incident reincarnates the Event and serves as a conceptual character occupying the position of the hero. The concept of the conceptual character thus resolves the question whether Mouna Rudo is a hero. Virtually, the dying Seediq people plunge into the spiritual flow of their ancestors, embody the Event, the Wushe Incident, and are actualized as ＂Seediq Bale.＂ Each of them, while facing death, expresses his or her own viewpoint on the Event, thus enriching the cosmos with variety.

並列關鍵字

Seediq Bale ； Mouna Rudo ； the Wushe Incident ； Death ； Chaosmos ； Impersonal Event ； the ancestors' heavenly home ； the conceptual character

參考文獻

黃文胤。《殖民歷史記憶與「台灣」想像：以魏德聖《海角七號》、《賽德克‧巴萊》、《KANO》為例》。碩士論文。台中：國立中興大學台灣文學與跨國文化研究所，2015。

伊婉‧貝林。〈賽德克‧巴萊的文化意涵〉。《台灣人類學刊》7 (2011): 30-33。

劉育玲。〈神話的詮釋與運用——從姑目‧荅芭絲《部落記憶——霧社事件的口述歷史》中三則神話傳說談起〉。《台灣文學學報》10 (2007): 197-226。

廖朝陽。〈災難與密嚴：《賽德克‧巴萊》的分子化倫理〉。《文山評論：文學與文化》6.2 (2013): 1-33。

鄭靜穗。〈Gaya精神的展現與彰顯——論鍾肇政霧社事件系列書寫之詮釋觀點〉。《國立臺北教育大學語文集刊》15 (2009): 133-65。

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死亡與事件：《賽德克．巴萊》的生命觀

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