由瑪格麗特．愛特伍德作品透視女人現身遊戲(I)

行政院國家科學委員會補助專題研究計畫成果報告

計畫名稱：遊戲、文學與文化，1870s-1970s: 由瑪格麗特．愛特伍德作品

透視女人現身遊戲

計畫類別：整合型計畫之子計畫

計畫編號：NSC90-2411-H-003-041-B15

執行期間：90 年 08 月 01 日至 91 年 09 月 30 日

計畫主持人：李秀娟

本成果報告包括以下應繳交之附件：無

執行單位：國立臺灣師範大學英語學系

日期：中華民國 91 年 12 月 23 日

行政院國家科學委員會專題研究計畫成果報告

由瑪格麗特．愛特伍德作品透視女人現身遊戲

(The Em-Bodying of Woman in Margaret Atwood’s Fiction)

計畫編號：NSC 90-2411-H-003-041-B15

執行期限：90 年 8 月 1 日至 91 年 9 月 30 日

主持人：李秀娟 國立台灣師範大學英語系

一、 中文摘要 「女人」和「遊戲」（play）究竟有什麼 關係？在西方主流哲學、文化論述中屈居「第 二性」，備受語言與權力壓抑、（神）物化的 女人是否能藉「遊戲」──歪離、延異、諧擬、 反寫現有文字論述規範等──反轉劣勢、重建 其主體形貌？在佛洛依德的理論裡，不受閹割 神話直接威脅的女人發展為較不為社會道德規 範與理性制約的一群，相對於男人之「必須」 循規蹈矩，女人顯然擁有較多游移於不同性傾 向、實驗禁忌慾望的「遊戲」空間。在戴西達 （Jacques Derrida）的解構論述中，覆上面紗、 捉摸不定、可望而不可及的「女人」再以其漫 遊冶蕩、多變延異的戲耍形象成為後結構主義 中隱遁之「真實」(Truth)的最佳隱喻。另外， 芭特萊﹙Judith Butler﹚論述裡透過性別諧擬表 演﹙performativity﹚歪離性別畛域而現身的女 人、芮薇耶爾﹙Joan Riviere﹚憑藉女性扮裝遊 戲以竊取父權的女人、或是拉崗派心理分析 （Lacanian psychoanalysis）兀自逡游想像界 域，對象徵建置相應不理的憂鬱症女人﹙women in depression﹚無不是背離社會規範性別角色的 「遊戲」女人。事實上，從十九世紀過渡到二 十世紀，「再現女人」歷史中不能不提的歇斯 底里女人﹙hysterical women﹚既是未能發展成 為社會定義之典範「女人」的失敗者，卻也因 背離典範享有更多遊戲身體的空間。正如莫妮 卡．大衛－梅那爾德﹙Monique David-Ménard﹚ 所指稱，歇斯底里女體提供享樂與戲耍空間， 歇斯底里女人透過「遊戲」追尋另類女體慾望； 而西蘇﹙Hélène Cixous﹚和克萊蒙﹙Catherine Clément﹚筆下兼具歇斯底里特質與巫女靈視的 「新生女人」﹙“the newly-born woman”﹚當然 更具遊戲顛覆的特性。 以思考「女人」和「遊戲」的關係為主軸， 本計畫將進行兩年。在本年度的計畫執行中，我 先就理論層面探討女性論述中女人現身的「遊戲」 特質，深究（歇斯底里與諧擬表演）女人「遊戲」 身體所具有的享樂與顛覆性，撰寫了 “The Woman Who Would Not Die: Voice, Mirror, and the Failed Metalanguage in The Double Life of Véronique”一

文。 在文學文本分析層面，我以瑪格麗特．愛特 伍德(Margaret Atwood)的小說為主與理論對話，以 文本印證女人在遁形和現身之間身份搬演的遊戲 特質，撰寫了＜簾幕、迷宮、女人虛飾：以瑪格 麗特．愛特伍德《女祭司》為例看歌德羅曼史消 費＞一文。簡單的說，「女人」藉遊戲現身，也 在遊戲變身自我的多元可能中體現其難以被規範 與定義的顛覆力。在 “The Woman Who Would not Die” 論文中，我以電影 The Double Life of

Véronique 為例，藉由討論心裡分析與電影視覺論 述中女人再現的理論指出女人遁出男性（導演） 後設語言而現身的可能。在＜簾幕、迷宮、女人 虛飾＞裡，我則著眼於愛特伍德如何於（後）現 代情境中重塑歌德式古堡小說（Gothic novel）中 的歇斯底里女體，以當代思惟、語彙書寫歇斯底 里女人，進一步鋪陳女人自我搬演的種種問題。 關鍵詞：遊戲、心裡分析、後現代、性別論述、 女性書寫、瑪格麗特．愛特伍德、歌德式古堡小 說 Abstract

The re-presentation of “woman” has been problematic in Western theories. Freud fails to define what a woman “is.” Lacan claims that “The Woman” does not exist. Considering “woman” a sex “which is not one,” Luce Irigaray challenges the patriarchy sustained by a number of male philosophers descending from Plato as she points to the “absence” of women in predominant Western discourses. Alienated from language and suppressed by the rule of the phallus, “femininity”—if not misrepresented—remains a mystique in Western thought. In view that Western culture, to borrow from Irigaray, is built on a primordial matricide, this project intends to study the possibilities of em-bodying women not through the language defined by order and rationality but through the play—the deviation, deferral, self-parody, and self-reflexivity—of discourses. That is, supposed that men, in the

conventional dichotomy of two sexes, must glorify themselves from work, women play and may survive in games. Less bound by castration complex than their male counterparts, for example, the Freudian women tend to deviate from social-cultural norms to play with their unstable selves and borderline sexuality. Derrida takes “woman” as a trope of “Truth” also because women play under veils with their unfixed self-boundary and multiple topology. Lacan then associates “woman” with jouissance, a surplus point of play beyond the

symbolic regulation. To move a step further, Kristeva defines a “feminine jouissance” and correlates it with the play of the portion of women’s bodies exceeding the bounds of Oedipal laws. In Judith Butler’s theory of perfomativity, moreover, woman emerges through her play, re-play and eventually out-play of

society-designated gender roles. In addition, women under Joan Riviere’s description steal male power through masquerade. And the em-bodying of women through play is most obvious in the case of hysteria. Though an expression of illness of woman’s body in psychoanalysis, hysteria has been re-inscribed by feminist theorists to be a place of women’s play of gender roles and sexual identifications. As Monique David-Ménard suggests, hysteria develops woman’s body into a space of games and pleasure. Following this line of thinking, the “newly-born woman” of Hélène Cixous and Catherien Clément’s imagination is precisely a hysteric qua the threshold figure that evades, questions, moves, and resists.

Meditating on the relationship between the em-bodying of woman and the play of self, genre, language, writing, desire, identificatory categories, etc., this project proposes to spend two year studying contemporary feminist conceptions of women and Margaret Atwood’s writings. Essential to my concern is how woman emerges in “play” and fosters subversive power through her playfulness. In the first year’s research, I explore the elements of “play” in contemporary feminist discourses, highlighting particularly women’s (hysterical and/or performative) bodies of both pleasure and subversion. Built on a discussion of the psychoanalytic discourse and the cinematic visual theory, the essay I have

published--“The Woman Who Would Not Die: Voice, Mirror, and the Failed Metalanguage in The Double

Life of Véronique”—sheds light on the possibility of

women’s escape from male metalanguage. Correlating theoretical study and literary analysis, I further study the novels of Margaret Atwood, exploring how they re-inscribe the hysterical female bodies and insightfully tease out the subversive playfulness of the traditionally house-confined and terror-driven gothic women. In the essay “Screen, Maze, and the Female Dissimulation: Consuming Gothic Romance in Margaret Atwood’s Lady

Oracle,” I point out that women in Atwood’s works

emerge through their deviation from norms, build up their subjectivity by multiplying their selves, and exert power through their resistance to being pinned down as sexual bodies. In a sense, what Irigaray claims to be the “absence” of woman in Western thought has been appropriated by Atwood to be a space of women’s self-experiments and playful emergence.

Keywords: play, psychoanalysis, post-modern,

gender discourse, female writing, Margaret Atwood, gothic novel 二、 緣由與目的 個人對當前女性文學與性別論述研究極有興 趣，對受心理分析理論影響，或謂由心理分析衍 生之一派女性∕性別論述鑽研多時。因此，當梁 一萍教授著手規劃「遊戲、文學與文化， 1870s-1970s」整合型計畫時，個人即提出結合「女 人再現」與「遊戲」概念的子計畫構想，預計以 兩年的時間串接文學文本研究與當代性別論述， 深究當前女性論述中其實無所不在但又鮮少被直 接言明的「遊戲」特質。 本計畫執行的目的有二，一在在理論層次上 整理傳承∕改寫∕反書心理分析理論之女性主義 學者（psychoanalysis-influenced feminists）論述， 思考「遊戲」如何為遭西方主流陽具中心論述邊 緣化、附庸化、（神）物化的女人重建其發聲權 與主體性提供手段與闢設空間。其次，在文本分 析上，個人將閱讀在後現代女性書寫場域中引領 風騷的加拿大作家瑪格麗特．愛特伍德，析論愛 特伍德具有(後)現代歌德小說特質的作品，指出女 人藉「遊戲」（文字書寫、自我身份辯證、性別 角色演出等）現身，在自我搬演中取得自主權的 種種可能及限制。「女人再現」與「遊戲」概念 之理論背景與愛特伍德作品在「女人∕遊戲」的 關係可被歸納如下: A.「女人∕遊戲」的理論建構 女人和遊戲扯上關係，追根究底，應歸咎 ﹙功？﹚於女人與社會主流規範以及男性中心語 言的疏離關係。這當然不是說女人生來即為遊戲 享樂，事實上大多數女性主義論述無不植基於對 社會壓迫女性、支使女人為男性中心社會裡﹙再﹚ 生產工具罪惡的批判。主流社會汲汲於規範女 人，塑造合乎男性社會定義與要求的「女人」， 無奈女人屢屢逸出典範，悖離標準。主流社會定 義的「女人」絕非天生，而是後天養成，真正的 肉身女人則不斷在到達與逸出典範要求的罅縫中 找到其（認同與慾望）戲耍的空間。佛洛伊德無 法明確定義女人，只能試圖描述認同模稜、慾望 多重之「女孩」（不能）變成「女人」的過程。 根據佛氏理論，女人較不受閹割神話直接威脅， 因此也較不受社會道德規範與理性制約；相對於 男人之「必須」循規蹈矩，女人擁有較多游移於 不同性傾向、實驗禁忌慾望的「遊戲」空間。用 Monique David-Ménard 在 Hysteria from Freud to

Lacan (1989)中的論點來看，他筆下的歇斯底里女

人（最著名的即為 Dora），即是逃離規範軀體， 另闢「歇斯底里享樂身體」（hysterogenic body） 的遊戲女人。一點也不令人驚訝，Dora 案例成為 後起重要女性論述學者──包括 Jacqueline Rose、Jane Gallop、Toril Moi、Hélène Cixous、 Catherine Clément 等──衍譯（或延異）以佛氏為 代表之心理分析論述的起點。女性主義者以女聲 置換佛氏男聲，以閱讀 Dora 逸軌的慾望打開心理 分析的男性中心語言侷限，以勾勒歇斯底里女體 之「無言快慰」（untold pleasures）凸顯女人之主 體性，其實早已連結女人與遊戲，形構遊戲為女 性空間。

佛洛伊德精神分析之外，戴西達在 Spurs: Nietzsche’s Style(1979, [1978])由不同視角聯繫起 女人和遊戲。戴氏以「女人」作為「真實」（Truth） 之隱喻，正由於女人之難以捉摸、逸出語言、悖 離定義，「女人戲耍」成了戴氏眼中解構陽具中 心，揭示「真實」之「不真」本質的文體利器。 在意義上呼應戴西達，拉崗以「女人」」（The Woman）作為「物始」（the Thing, la chose），亦 因「女人」之不斷游移於象徵建置之外。拉崗並 將「女人」和「狂喜」（jouissance）概念串接， 在 “God and the Jouissance of The Woman” 和 “A Love Letter” (1972-1973)文中指出「女人」擁有穿 越伊底帕斯法則以（再）經驗「狂喜」的潛能。Julia Kristeva 則進一步提出「女性狂喜」（feminine jouissance）的概念，反溯建構（retroactively constructed）出伊底帕斯法則之前之外的母女聯繫 場域。女人以其難以抹滅遺忘的母女相連「狂喜」 記憶，時而介入象徵建置，時而遁出文字規範， 以嬉遊冶蕩之姿行其另書反寫男性霸權之實。 的確，當前女性論述雖未直接追溯或援引西 方傳統之「遊戲」概念，卻不斷影射女性在搬演 慾望與建構主體時的遊戲特質（playfulness）。「陰 性書寫」（écriture feminine）由男性理論之幽暗底 層、掛一漏萬處出發，「暫時、策略、戲耍地」 （provisionally, strategically and playfully）開闢語 言新視野。Cixous 著名的 “The Laugh of the Medusa”（1981, [1975]）一文強調「陰性書寫」中 「笑」的本質，直指女性由「笑」發聲，藉愉悅 現身的可能。其和 Clément 合著之 The Newly Born

Woman（1986, [1975]）書寫「新生女人」為兼具 歇斯底里特質與巫女靈視，可謂將女人遊戲顛覆 的潛能推至淋漓盡致。另外，Joan Riviere 在 “Womanliness as a Masquerade”（1929）提出女人 扮裝理論，賦予女人跳脫本質主義侷限、於性別 舞台進行多元扮裝演出的機會。繼起之女性論述 學者中，Judith Butler 提出「性別諧擬表演」 （gender performativity）的理論，主張女人透過性 別角色諧擬表演歪離性別畛域而現身；Teresa de Lauretis 則在“Perverse Desire”（1994）文中拓衍「女 人扮裝」概念至酷兒理論（queer theory）領域。 除此之外，Slavoj Žižek 反面書寫女人扮裝理論， 筆下之女人因其「憂鬱症」﹙feminine depression； 見“David Lynch, Or, the Feminine Depression,” 1994﹚兀自逡游想像界域，對象徵建制相應不理， 可謂「拒絕扮裝」的女人。職是，女人或者在扮 裝表演過程中嬉遊冶蕩，或者遁出理性規束騁遊 陰性界域，「女人∕遊戲」的理論建構已呼之欲 出。 B. 愛特伍德與「女人∕遊戲」 本計畫選擇以愛特伍德的作品為文本，主要 原因有二：第一，其作品屢屢以（後）現代歌德 之姿重塑傳統歌德式小說的歇斯底里女體，精彩 深入的以當代思惟、語彙鋪陳女性角色與性別政 治；第二，愛特伍德特有的喜劇筆觸與後現代諧 謔口吻在當代女作家中幾乎無人能出其右，可以 說獨樹一格的建立起一種「女人∕遊戲」的文體。 首先，歌德小說描寫鬼魅過去如影隨形，暗 示多元空間盤根錯節，暴露象徵建制之下之外的 禁忌慾望軌跡，原本即可名之為陰性文類。十九 世紀女作家著名者如勃朗特姊妹（The Brontes）在 其歌德作品中試演男女權力政治，表面上回歸男 性主流重掌大局的風平浪靜，實則在文本中留下 無數空缺破綻。二十世紀女作家則更大膽的書寫 歌德陰暗潛意識：Charlotte Perkins Gilman 在即將 邁入二十世紀前便以 “The Yellow Wallpaper” (1892)寫出歌德女人的曖昧與反動潛力；Jean Rhys 的 Wide Sargasso Sea (1966)開展 Jane Eyre 的禁忌 空間，賦予鬼魅般之古堡閣樓女人以具形；Toni Morrison Beloved (1987 )中的「124」號居所則既是 歌德禁忌領域、種族記憶篋匣、也是女女聯繫現 身空間。歌德小說與女人書寫的密切關係可見一 般。 而在重寫歌德小說的女作家中，愛特伍德以 其後現代手法書寫歌德領域為女人扮裝遊戲空 間，進一步聯繫起（後）現代歌德與「女人∕遊 戲」。愛特伍德擅長描述歌德氛圍，作品多具歌 德成份。本計畫在分析愛特伍德作品時著眼於其 如何重書歇斯底里女體、篡改傳統歌德小說制服 式男女權力關係、以戲耍姿態再現女人。當然， 愛特伍德在加拿大文學中的地位，在當今英文創 作界的重要性，還有她和正統女性主義若即若離 的關係，對女性主義陳腔濫調所持批判、檢討、 游離的態度也都使她成為和當前女性論述對話， 研究「女人∕遊戲」的絕佳人選。 三、 結果與討論 本計畫研究截至目前已完成兩篇論文，“The Woman Who Would Not Die: Voice, Mirror, and the Failed Metalanguage in The Double Life of

Véronique”已發表於 Concentric 28.1 (2002): 29-62.

第二篇論文＜簾幕、迷宮、女人虛飾：以瑪格麗 特．愛特伍德《女祭司》為例看歌德羅曼史消費 ＞則已投稿《英美文學評論》審查中。現將兩篇 論文摘要引錄如下：

A. “The Woman Who Would Not Die: Voice, Mirror, and the Failed Metalanguage in The

Double Life of Véronique”

摘 要 ： This paper studies Krzysztof Kieślowski’s portrayals of woman in The Double Life of Véronique. It explores the dialectic between Kieślowski’s ambition to capture the essence of womanhood on the one hand, and his female characters’ survival qua signifiers of a constraining (masculine) cinematic metalanguage on the other. The first part of the paper explores how, through their disembodied voice, the female characters escape the specular and sound regimes of the film. The second and the third parts analyze the characters of Weronika and Véronique to demonstrate their “ex-sistence” (existing outside) or “exile” vis-à-vis the narrative symbolic of the film. Finally, I look at Kieślowski’s employment of alternative narratives and point out that his need to

tell his story repetitively renders his film self-deconstructive in its attempt to express femininity. Briefly, this paper suggests that the male gaze/narrative of The Double Life of Véronique may, following the topographical logic of the Moebius strip, arrive at its obverse “surface,” showing the underside of a masculine cinematic language and casting into question an attempted male metalanguage.

B. 簾幕、迷宮、女人虛飾：以瑪格麗特．愛特伍 德 《 女 祭 司 》 為 例 看歌德羅曼史消費 (Screen, Maze, and the Female Dissimulation: Consuming Gothic Romance in Margaret Atwood’s Lady

Oracle) 中文摘要：女人和歌德羅曼史消費一直有複雜的 慾望及認同關係。本論文分析瑪格麗特‧愛特伍 德（Margaret Atwood, 1939-- ）的小說《女祭司》 （Lady Oracle, 1976），思考歌德小說對女性讀者 模稜不一的影響力。論文指出，《女祭司》以後 設手法書寫歌德羅曼史消費，它的創作本身就串 接了流行文化的機械複製與嚴肅文化的反思辯 証。另外，愛特伍德在書中創造了身兼流行性別 迷思追隨者和暢銷歌德制服式情節複製者的女主 角瓊（Joan），藉由穿插瓊自傳式的寫實自述﹙realist confession﹚與其歌德創作，創造了《女祭司》一 邊複製歌德樣版，一邊將此樣版暴露於現實底下 的繁複景致。論文包括三部份：「歌德消費與簾 幕迷思」反省歌德羅曼史的逃避主義，質疑其作 為遮蔽現實之簾幕（screen）的功能；「歌德空間 與迷宮﹙反﹚消費」探索歌德多層次的迷宮（maze） 空間，解剖歌德女角／女讀者迂迴糾結的自虐∕ 虐人（masochism/sadism）傾向與憂鬱症 （melancholia）；「女人虛飾與神諭發聲」則思考 歌德羅曼史消費所形構的「女人虛飾」（the female dissimulation）空間，討論女人藉消費之名行建構 之實，藉擔任祭司傳遞神諭之名開展自我聲音的 可能性。

英文摘要: Women’s consumption of gothic romance has been an important subject of study in contemporary popular culture. This paper analyzes Margaret Atwood’s Lady Oracle (1976), with its goal to explore the complicated relationship between the contemporary female readers and the gothic production/consumption. Briefly, a metafiction dramatizing the production and consumption of gothic romance, Lady Oracle juxtaposes its female protagonist’s realist confession and her gothic writings, significantly subjecting the mechanic reproduction of popular romance to serious cultural critiques. The first part of this paper, “Gothic Consumption as a Screen,” interrogates the escapism of gothic romance. It casts into question the idea of gothic romance as a screen concealing social reality. “Gothic Space as a Maze” then explores the multi-layered and maze-like space of desire evolving alongside each gothic reading. It lays bare the

trajectories of a gothic reader’s sadism/masochism and melancholia. Finally, “Gothic Woman in Dissimulation” investigates the possibility of constructing from the act of gothic reading a subversive space of female dissimulation. As demonstrated in Lady Oracle, female readers may identify with multiple roles in each romance. The seemingly passive gothic consumption may be transformed into an active self-construction.

四、 成果自評 在本年度的研究裡，我由思考「女人」和「遊 戲」的關係下手，兼及心理分析及後結構女性主 義理論，深究後現代歇斯底里與諧擬表演女人「遊 戲」身體與敘述所帶來的愉悅及顛覆性，成果頗 為豐碩。但由於研究時間的限制，加上花了相當 多精力釐清「女人遊戲」的理論，在愛特伍德研 究上的廣度相對有所不足。為了彌補此項缺憾， 並延續/擴展本年度的研究成果，我將在本計畫執 行的第二年把研究重心放在愛特伍德的文本上。 以「女性歌德的家國想像」為主題，廣泛地閱讀 愛特伍德具代表性的（後）現代歌德作品，希望 能更深入挖掘愛特伍德代表作中濃郁的歌德氛 圍、加拿大（邊緣）女人現身、與加國歷史及空 間想像的相關性。 五、 主要參考文獻

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