民國魂在論：製作張派

張派證明了張愛玲在中國現代文學中難以比擬的影響力，有意思的是，對「張派」的論述成形貢獻極大的王德威卻是通過德希達的魂在論推而廣之，突顯出張愛玲的傳播乃以張愛玲本體的喪失為預設，這提醒我們需要仔細重審張派作為一門建構的動態，那植根於「中（華民）國」與「（民國）台灣」的辯證情境。本文首先檢視張愛玲小說得以進入戰後台灣的結構性因素：國民黨戒嚴體制與冷戰美援體制的協商，從中推出中國性與文學性這一組理解生產張派的座標，分別以胡蘭成與王德威為案例，分析他們如何在文學現場與文學史論述改寫張愛玲的意義並形成影響。作為三三集團的抒情淵源，胡蘭成的神話觀對張愛玲的寓言觀的覆寫，指引三三把張愛玲美學化為反共復國的神聖符號，在文學與政治的一元化中，力圖讓民國性成為中國性之極致。由此檢視王德威情感投注甚深的論述，我們發現張派系譜是其學術發展的重要線索，預備了後來的後遺民—華語語系論述，其系譜的長年增衍形同慾望的轉喻，導致了張派的膨脹變形。「民國女子」於張派的錯體復返所曝現的，也即民國魂在論。

關鍵字

張愛玲；胡蘭成；王德威；華語語系

並列摘要

While the "Chang School" essentially attests to Eileen Chang's significance in modern Chinese literature, David Der-Wei Wang based his immense contribution to the discursive formation of the "Chang School" on Jacques Derrida's hauntology, fostering Chang's influence on the premise of the loss of Chang's authenticity. Such a paradox urges us to reexamine the dynamics of the Chang School as a cultural construct, situated in the dialectic of "(the Republic of) China" and "(the Republic of China) Taiwan." This essay first analyzes the structural factors that allowed the circulation of Eileen Chang's work in post-war Taiwan, namely the cultural negotiation between the Kuomingtang martial law regime and the US aid regime, from which the interpretative codes of Chineseness and literariness are deduced as the grid for understanding the emergence of the Chang School. Hu Lancheng and David Der-Wei Wang are two key figures whose meaning-remaking of Eileen Chang has been influential. As the origin of San-San's lyricism, Hu's mythical worldview, overwriting Chang's allegorical worldview, guided San-San to aestheticize Chang as an anti-communist symbol. The totalizing of literature and politics aspired to render the "Republican-Chineseness" to the ultimate of Chineseness. Turning to Wang's affectively invested writing, we find that his genealogy of the Chang School is an important thread in the development of his scholarship that has prepared for the subsequent post-loyalist Sinophone discourse. The proliferation of the genealogy over the years, comparable to the metonymic movement of desire, resulted in the deformation, or even the fictionality, of the Chang School. What the return of the "Lady of the Republic of China" in the displaced bodies of the Chang School exposes could be known as the hauntology of the Republic of China.