國族、空間與男體之纏：郭強生與白先勇小說的鏡映結構

Abstract

本文旨於關注郭強生與白先勇小說之間的互文性，探討兩位作家具代表性的小說在國族、空間與男體間的鏡映結構。通篇採取文本細讀與跨文本分析方法，並參考比較文學和酷兒理論，研究面向包括：其一、以郭強生的《夜行之子》對照白先勇的《台北人》與《紐約客》。從郭強生對白先勇筆「尹雪艷」的遙扣切入，體現郭強生視角在數篇小說中對於經典的致敬、解構乃至幽微形塑的反寫現象，同時揭示其敘事如何反悖線性時間的進程，使歷史、情慾與主體經驗如鬼魅般幻形相纏。其二、將《惑鄉之人》與《孽子》相置，探討日治歷史與戰後外省記憶的空間形構。白先勇筆下的台北新公園、安樂鄉，對照郭強生小說中穿梭於花蓮和台北的片場、電影院與酒家，在看似隱去或錯置，卻又與禁忌情慾纏連難分的政治隱喻間，所構成混沌的場景如同難多重曖昧的酷兒肉身，不復表面的虛實、內外分際，更漸次模糊了國族框架與異色秘境之間的界線。其三、藉由《斷代》與《寂寞的十七歲》的比照，將後同婚時代的當代反思對接戰後離散敘事的惆悵與危疑。分析在平凡日常中的老、少形象，如何仍內蘊著不同狀態下的矛盾與渴望，在郭強生今昔交錯的筆法間，使個人與時代再度展現出鬼魅化的存在方式。綜上，本文期能藉由此一鏡映式比較，深化對台灣文學中酷兒書寫、國族寓言與空間敘事交纏狀態的理解，並為跨世代的小說研究提供新穎的詮釋視角。

This study examines the intertextuality between the fiction of Kuo Chiang-sheng and Pai Hsien-yung, exploring the mirrored configurations of nations, spaces, and the male bodies across their seminal works. Employing close reading and cross-textual analysis informed by comparative literature and queer theory, this thesis unfolds across three main dimensions : First, it contrasts Kuo’s The Nightly with Pai’s Taipei People and New Yorkers. Beginning with how Kuo’s short story subtly echoes Pai’s iconic character Yin Hsueh-yen, the analysis demonstrates how Kuo pays homage to, deconstructs, and subtly rewrites literary classics across several works. Concurrently, it reveals how Kuo’s narrative subverts linear temporality, allowing history, desire, and subjective experience to haunt and entangle one another like specters. Second, by juxtaposing Bewitched Homeland with Crystal Boys, the thesis investigates the spatial configurations of Japanese colonialization and post-war Mainlander memory. Pai’s depictions of Taipei New Park, and the bar called Cozy Nest are compared with Kuo’s settings of backlots, theaters, and host clubs between Taipei and Hualien. Within political metaphors that appear concealed or displaced yet remain inextricably bound to forbidden lusts, these chaotic spaces are similar to ambiguous queer bodies—erasing boundaries between reality and illusion, internal and external, and blurring the lines between national frameworks and erotic hideaway. Third, by comparing A Time No More with Lonely Seventeen, the study bridges post-same sex marraige contemporary reflections with the melancholy and anxiety of post-war diasporic narratives. It analyzes how figures of the young and the elderly within everyday life still harbor deep-seated contradictions and longings. Through Kuo’s narrative by intertwining past and present, both the individual and the epoch re-emerge as haunted existences .In conclusion, through this comparative mirror analysis, this study aims to deepen the understanding of the intricate entanglements among queer writing, national allegory, and spatial narrative in Taiwan literature, thereby offering a novel interpretive framework for cross-generational fiction studies.