跨国资本主义时代的“壕堑战”——性/两性问题与陈映真《华盛顿大楼》的“常”与“变”

The Trench Warfare in the Age of Transnational Capitalism: Sexual/Gender Issues and the Constance and Change in Chen Ying-zhen’s Washington Building

本文将《华盛顿大楼》系列放置于台湾战后社会语境和陈映真文学创作脉络中加以考量,认为该系列中的性/两性问题与具体的社会历史语境紧密联结,既延续又发展了早期小说通过性/两性问题对资本主义现代性和左翼理想主义的探讨,并呈现出对跨国资本主义时代新兴症候的反思。该系列的女性书写反映出第三世界女性在跨国资本主义时代中的结构性位置和困境,其境遇由国族、性别、阶级等诸多结构关系相叠加而形成,她们比男性更具反抗的能动性,但这只能延缓却无法阻止资本主义扩张的历史进程。该系列延续了早期小说借由性/两性问题对男性主体展开批评的反思路径,但这一时期具有朴素国族意识或禁欲主义倾向的男性主体与左翼理想逐渐脱钩,也回避了质疑台湾“内战·冷战”历史结构的困难。该系列在社会批判和艺术审美两个层面达成了微妙的平衡,一定程度上克服了詹姆逊所谓晚期资本主义文化弗洛伊德与马克思的严重分裂甚至二元对立。

In this article, the Washington Building series will be examined in the context of postwar society in Taiwan and the veins of literary creation by Chen Ying-zhen, with the opinion formed that sexual/gender issues in the series are closely linked to the historical context of the concrete society as it not only continues and develops its exploration of the modernity of capitalism and leftwing idealism in his early fiction through the sexual/gender issues but also provides reflections on the new symptoms of the age of transnational capitalism.The woman writing in that series reflects the structural position and circumstances of the third world women in the age of transnational capitalism, whose situation is formed of a stack up of multiple structural relationships such as nation-state, gender and class, and, as a result, they are more capable of taking rebellious initiatives than their male counterparts although this cannot stop the expansion of capitalism even though it can slow the process down. The series continues the path of reflections that extends criticism on the male subject through sexual/gender issues but, in this period of time, the male subject with a simple consciousness of nation-state or a tendency towards sexual ban became detached from the leftwing idealism, thus also avoiding the difficulty of having to question the historical structure of civil war and cold war in Taiwan. The series reaches a subtle balance between social critique and artistic aesthetics, overcoming, to a certain degree,the serious division between Freud and Marx, even the binary opposition in Jameson’s so-called late capitalist culture.