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標題: | 酷兒化抒情傳統:《孽子》與同志文學的方法論問題 Queering Lyrical Tradition: Problematize Methodologies of Tongzhi Literature in Crystal Boys |
作者: | Sheng Chiang 江昇 |
指導教授: | 梅家玲(Chia-ling Mei) |
關鍵字: | 白先勇,《孽子》,同志文學,方法論,酷兒,抒情傳統,屈原, Pai Hsien-yung,Crystal Boys,Tongzhi literature,methodology,queer,lyrical tradition,Qu Yuan, |
出版年 : | 2018 |
學位: | 碩士 |
摘要: | 台灣的同志文學研究自1990年代中期西方酷兒理論的引注,至今已逾二十年;一方面為超克時空情境的斷裂,另一方面為構設獨樹一幟的理論藍圖,
晚近學者逐步關注在地化同志理論的發展潛力。在此一關照下,本文將同志文學的研究方法加以問題化,以酷兒化抒情傳統的方式,重讀白先勇具開創意義的同志文學文本《孽子》,嘗試在西方性別研究與當代台灣論述的接合之中,提出與在地性相脈絡相互交織的同志文學方法論。 作為對於台灣的同志文學與文化生發莫大影響的小說,關於《孽子》的改編、報導與研究,皆也隨之從各個面向形塑台灣群眾對於同志主體的認識與想像;因此,以《孽子》為核心所構設的文學方法論,不僅使當代讀者能夠在內緣更為細緻地閱讀作品本身,其與在地性相脈絡的緊密綰合,也使之隱含介入性別政治的外緣潛能。本文指出,白先勇以《孽子》所實踐的同志書寫,事實上與古代「孤臣」屈原以〈離騷〉為代表的抒情詩歌有著遙相呼應的默契,而使抒情傳統論述與西方酷兒研究得到在當代台灣被接合並發展的可能。本文的分析同時強調,作為一項理論化的知識議程,對於抒情傳統的酷兒化除了發揮歷史的後見之明,重思理論的侷限與潛能之外,也同時投石問路,為當代華文的同志書寫指引有別於西方酷兒的另類實踐方向。 Studies of Tongzhi (同志, which generally refers to queers in Taiwan’s social context) literature in Taiwan could be traced back to the introduction of queer theories from Western academia in the mid-1990s. The recent scholarship in this discipline has endeavored to provincialize these Western queer theories, as a way to not only theorize Taiwan’s queer cultures, but also transcend epistemological ruptures between Western and Taiwan’s historical conditions. Situating itself in such an intellectual project, this thesis problematizes current research methodologies in Tongzhi literature by rereading Pai Hsien-yung’s Crystal Boys as an embodiment of queer lyrical tradition. In so doing, I argue that, in order to formulate a methodology of Tongzhi literature that intersects with local sexualities, this text should be rendered as a nodal point that articulates Western gender studies and contemporary Taiwan’s literary discourses. As a novel that has exerted great influence on Taiwan’s Tongzhi literature and culture, Crystal Boys has constructed how Taiwan’s queer subject has been recognized and imagined in the public sphere, along with its following creative adaptations, critical reviews, and academic receptions. Therefore, the proposed methodology of interpreting Crystal Boys in this thesis, on the one hand, allows contemporary researchers to perform a more nuanced textual analysis, and demonstrates the potential of engaging with gender politics for the text’s social reference to Taiwan’s local sexual context, on the other. This thesis suggests that the practice of queer writing that Pai deploys in Crystal Boys is actually affected by Qu Yuan’s lyrics such as “Li Sao,” which reveals the possibility of articulating lyrical tradition and Western queer studies in contemporary Taiwan. As an intellectual agenda of theorization, this thesis aims to make critical contributions through queering lyrical tradition, and further gesture contemporary Chinese queer literature towards an alternative direction different from that of its Western counterpart. |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/72409 |
DOI: | 10.6342/NTU201803674 |
全文授權: | 有償授權 |
顯示於系所單位: | 中國文學系 |
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