冷戰現代化及其不滿：王禎和作品中的美國／性

Abstract

臺灣現代小說家王禎和最廣受注意的寫作特質之一是其作品對「性」的露骨描寫。一般研究對於王禎和在臺灣民風相對保守的1990年代以前能使用大膽的性描寫，多將之解讀為是對於人生無常情境之感嘆、是臺灣保守社會之戲謔。然而本文則認為王禎和的性描述，並非只是諧諷，而是具有更結構性、更針對性的深層批判意含；亦即，他對於「性」的描述是扣連著對於「美國」的批判而來。本論文先指出王禎和的作品史在1971年、1980年出現兩個性表現的轉折——從對性的單純調笑，轉而關注性的發生場域「家庭」，以及注目疾病的潛在威脅，從而區分出三個階段進行分析。 本文提出冷戰現代化討論冷戰框架下的美國因素對台灣現代化的影響，並藉米歇爾・傅柯（Michel Foucault）將性意識（sexuality）作為一種權力（power）的實踐之思想理路，以「美國性／性治理」二個概念分析王禎和不同階段的作品，視台灣人民的「身體」為載體，探討「美國性／性治理」如何互為換喻關係，批判台灣戰後現代化實為漸趨美國化的過程。

Taiwanese modern novelist Wang Chen-ho is famous for his explicit sexual narratives in his works. Previous studies on Wang’s works viewed them as reflections on impoverished rural lives or satires of conservative Taiwanese society. However, this thesis contends that the sexual descriptions, more than satire, designate profound criticisms of “sex” in postwar Taiwan, which this thesis argues is closely related to Cold War American dominance in Taiwan. Appropriating Foucault’s critique of sexuality as a practice of power, this thesis argues that Wang’s works are produced under the apparatus of “Cold War modernization,” which includes double articulation of modern (urban) life and sexual regulations—and their antinomies. Therefore, by analyzing Wang’s works—splitting them into three phases for the shift of concern—this thesis attempts to show how the people’s bodies in Wang’s works “afford” the Americanness and sexual governance, thus paradoxically, becoming “modernized” (and disciplined).