暗示——白先勇小說中的語義結構之建構單元

Semantic Structure of Pai Hsien-yung's Short-stories

本文集中析論「暗示」在白先勇小說中的分配及用法。首先，本文分析「暗示」的定義與功能，因而認為暗示與小說裡的文化背景有關係：例如，以美國為背景的小說中，作者只使用源於西方文化的互文；而在中國背景的小說中，作者使用的暗示幾乎都源於中文語境。其次，暗示分配也能幫助建構白先勇作品裡意義的幾個語義層面：人物層面、小說層面、系列。由此項特點可發現，兩個文化背景的小說與被建構的意義都表現出一種循環性和對話性。最後，立基於上述分析觀點，就能看出〈Danny Boy〉和〈Tea for Two〉相異於先前小說的特殊性意義。此處本文使用巴巴的「第三空間」概念，認為白先勇雖然利用相同的文學技巧在小說中進行建構一個混雜性空間，但與先前小說的不同點在於，這個空間能夠解決白先勇所有小說裡提出的問題與對立。

The article focuses on distribution and usage of allusions in Pai Hsien-yung literary writing. It observes that the allusions' source texts originate in those cultural backgrounds, where the particular short-stories take place (the American or Chinese cultural background). Such allusions distribution seems to be intentional and allusions help to construct the meaning on different semantic levels: the level of characters (the lowest semantic level), the level of short-story, and cycle. The article also observes that the constructed meaning and short-stories rooted both cultural backgrounds has cyclic character, and thus a short-stories dialog occurs. From this point of view, the meaning of last two short-stories, “Danny Boy” and “Tea for Two”, differ in comparison to previous short-stories. The article, deriving from the Homi Bhabha's conception of “the third space of enunciation”, believes that Pai Hsien-yung while using the same literary techniques builds a “hybrid background”, where all answers to the ques?tions and dichotomies occurring in previous works can be found.