反殖民集体激情中被遮蔽的身体——对《蝴蝶君》男主角的具身伦理解读

The Silenced Body in Collective Anti-colonial Passion:An Embodied Interpretation of M.Butterfly

著名华裔美籍戏剧家黄哲伦的《蝴蝶君》在中国学界广受注目,这些评论绝大多数声称取后殖民批评的角度,但其实却可说无一例外地背叛了后殖民批评的一个重要维度——身体,使得这里的所谓的后殖民批评等同于民族主义的反殖民批评。《蝴蝶君》实际上呈现了身体在文化冲突中的游离性与离心力。因为这场文化冲突对身体这个中介与境域的严重依赖,"身受"冲突的"帝国主义者"法国人高与他所"代表"的力量之间存在着既依存又背离的关系。在文化对抗产生的罅隙中,他的身体实现了自体自根的快乐,引导他挣脱了帝国与权力的话语控制。

Most Chinese scholars examine the play M.Butterfly from what they call a postcolonial perspective,but their postcolonial criticism almost unexceptionally silences a crucial dimension-the body.M. Butterfly presents the human body as not only disciplined by but also deviant from power,as is illustrated by the protagonist Gallimard,who,in the process of fulfilling his bodily self,gradually rids himself of the discursive control of the imperial power.