李渔观看术：多角色的“喜剧”与跨文体的“创造”＊--以韩南《创造李渔》为中心

Ways of Viewing Li Yu:‘Comedies' of Multiple Characters and the‘Invention'of Trans-Genres: On Patrick Hanan's The Invention of Li Yu

作为海外汉学界颇负盛名的中国明清文学研究者,韩南早在20世纪80年代,便推出了彰显个人理论基色的"东方微观型"著作《创造李渔》。本文以此为中心,重点探讨了韩南书写体系中"喜剧"概念的功能性所指,以及"创造"李渔所施行的具体策略:文学中"性文本"的模式化提炼,"倒置"作为文学现象认识装置的使用,基于"叙述者""赞助人"等角色框架的观察和演绎,以及"跨文体"文论观的实践。事实上,积极引入西方理论批评话语并有意择取李渔这一中国文人形象作为书写个案的韩南,正代表了海外汉学界观看东方的典型机制:以特定理论/视角作为切口,方能超越时空/文化隔阂而获得创造性发现,其恰可用韩南受李渔小说启发而关注的"望远镜"及其原理作为行为隐喻。韩南更具前瞻性的是,他已将形象学范畴中的李渔提升至方法论层面,进而作为自己文学研究的镜像加以参照,这使得韩南与李渔呈现出平等互动的对话姿态。

As a renowned scholar in the field of sinology overseas of literature in the Ming and Qing dynasties, Patrick Hanan, as early as the 1980s, published his book, The Invention of Li Yu, an‘Oriental micro-type’of a book that demonstrates his own theory. Based on that, this article explores the functional signified in the concept of‘comedy’in Hanan’s writin g system, his‘invention’of the concrete strategies executed by Li Yu, the patterned purification of‘sexual texts’in literature, the use of‘inversion’as a vehicle for the cognizance of literary phenomena, the observation and deduction based on such character frames as‘the narrator’and‘sponsor’and the practice of the theoretical view of‘trans-genre’. In fact, Hanan’s is the typical mechanism through which the Orient is viewed in the world of sinology as he has deliberately chosen Li Yu, a Chinese man of letters, as his case to write about and has actively introduced the critical discourse of Western theory. It is only by using a specific theory or perspective as an incision for entry that time, space and cultural differences can be transcended with possible discoveries. Here, the‘telescope’, that inspired Hanan with Li Yu’s fiction and that concerned him, and its principle serve as a behavioral metaphor. What makes Hanan more a forward thinker than otherwise is the fact that he has lifted Li Yu out of phenomenology to the level of methodology and, further, is using him as a mirror image in his literary research for reference, creating an equal and interactive posture of dialogue between Hanan and Li Yu.