走出“性中心主义”——塞吉维克的酷儿操演研究

Out of Sex-Centrism:A Study of Sedgwick’s Queer Performativity

20世纪以来,精神分析在为女性主义提供丰富话语资源的同时,也对女性主义形成了一种话语桎梏。这突出表现在女性主义的“性中心主义”倾向上。酷儿理论虽然在打破异性恋霸权、丰富对边缘群体的差异性研究等方面发展了女性主义,但“性中心主义”的问题在酷儿理论中依然存在。这种“性中心主义”倾向至少有两种表征:第一是在语言或理论框架上将“性”作为理解主体的核心,第二则是对“性压抑假说”以及相应的“颠覆”“揭露”“祛魅”的反压抑策略的迷恋。在对“理论”的反思过程中,酷儿理论家塞吉维克以汤姆金斯的情动理论和克莱茵的客体关系心理学为话语资源,修改了巴特勒的“性别操演”,提出了自己的“酷儿操演”。“酷儿操演”以情动的主体模式为理论基础,以修复为基本的理论取向,以羞耻的情动经历为主要内容。塞吉维克的“酷儿操演”不仅在“性中心主义”之外,找到了另一条将主体丰富的个人经历和情感体验概念化的路径,也提供了“后理论”视野下一种更具生产性的理论范式。

Since the 20th century, psychoanalysis has been both a discursive resource for and shackle on feminism, which is prominently manifested in the “sex-centrism” orientation. Although queer theory has broken the hegemony of heterosexuality and enriched the research on the differences of marginalized groups, sex-centrism has been a sustaining problem. The sex-centrism orientation is manifested in at least two aspects: the linguistic or theoretical positioning sex at the core of the understanding of subject, the obsession with the sexual repression hypothesis and anti-repression strategies such as subversion, exposure, and disenchantment. In her critical reflection on “Theory, ” Sedgwick revised Butler’s gender performativity by using Tomkins’ s theory of affects and Klein’s psychology of object relations, and she proposed her own theory of queer performativity. Queer performativity is based on the subject model of affects, which treats reparation as its fundamental theoretical foundation, and concerns the affective experience of shame. Sedgwick not only found another way to conceptualize the subject’s rich personal and emotional experience, but also provided a more productive theoretical paradigm.