孤兒．創傷．陰性情境：論臺灣當代三部後殖民小說

Abstract

臺灣後殖民小說多用心於處理各式戰爭與政治暴力創傷，由此源流出孤兒敘事傳統；同時，在艱苦的時代裡謀生求存的邊緣族群也需要被再現其陰性能動，留下不同的歷史詮釋。 本文首先爬梳臺灣孤兒敘事傳統受到的文化情結影響，並分析《惑鄉之人》的孤兒敘事所帶入的新視野，以及資本主義的介入如何使得權力運作更為複雜化，征服與被征服、欲求與被欲求等關係在流動性的身分裡不斷地纏繞、倒錯；再者，分析《單車失竊記》的創傷書寫，並細分為個人創傷、文化創傷與代際傳遞創傷；最後梳理《白色畫像》的規訓權力書寫，以及各個小人物的身體情境如何與其歷史情境進行對話，以及從中催生出的陰性能動。

Taiwan postcolonial novels often focus on dealing with various forms of trauma caused by war and political violence, from which a tradition of orphan narratives has emerged. At the same time, marginalized groups struggling to survive in difficult times also need to have their passive agency represented, leaving different interpretations of history. This article first examines the influence of cultural complexes on Taiwan orphan narrative tradition and analyzes the new perspectives introduced by the orphan narrative in Bewhitched Homeland, particularly how the intervention of capitalism complicates power dynamics, with relationships of domination and subjugation, desire and being desired, intertwining and reversing within fluid identities. Next, it analyzes the trauma writing in The Stolen Bicycle, breaking it down into personal trauma, cultural trauma, and transgenerational trauma. Finally, it explores the writing of disciplinary power in The White Portrait, investigating how the bodily situations of various minor characters engage in dialogue with their historical contexts and how passive agency emerges from this interaction.