墮落夏娃－－廖輝英的妓女論述與國家資本主義的矛盾

Fallen Eve: Liao Huiying's Discourse on Prostitution and the Contradiction of State Capitalism

性別研究與文學批評的結合已非新鮮事，然而文學中的妓女角色卻為研究性別的學者提供一個便利的切入點，以探討特定時空下，由性別、情慾、國家、階級、種族交錯而成的權力網絡。本文選擇廖輝英的妓女故事〈失去的月光〉（1）為討論焦點，援用馬克思／意識形態的分析，將它放置在台灣戰後國家資本主義的發展及其衍生的矛盾中來理解。一方面，中產階級女性獲得經濟獨立，性也脫離家庭的管制，另一方面，家庭作為經濟基本單位，仍被強調為國家發展的基礎；在這種情況下，廖輝英筆下的職業婦女成了走鋼索的人，戰戰兢兢地走在「走向婚姻」的鋼索上，不得有所偏離，否則就會成為墮落者（如妓女）。廖輝英扮演了糾察者的角色，在小說中詳細列出墮落者所犯的錯誤，以作為剛剛離開伊甸園的夏娃們的借鏡。本文第二部分則援用論述分析的方法，首先強調小說將「妓女」建構為知識客體的權力，並指出小說與現實中關於妓女的公共論述互相鞏固的關係。雖然妓女作為她者的聲音在小說中被壓抑，但小說本身眾聲喧嘩的特質，在權力網絡中創造出矛盾或縫隙，而使另類的主體性可以被建構，另類的政治空間得以開展。

The combination of gender studies and literary criticism is nothing new, but the role of prostitutes in literature provides a productive perspective for investigating the intertwined network of gender, sexuality, class, race, and the role of the family and nation. Through reading Liao Huiying's short story 'The Lost Moonlight,' this paper first employs a Marxist method of analysis of ideology, contextualizing the work within the development of national capitalism and its contradictions. In the 1980s, middle-class women in Taiwan started to gain economic independence and freed hemselves from the regulation of family, especially in terms of sexuality. On the other hand, family units were still taken as the foundation of the nation's growth, and traditional familial ethics was reinforced. Following this ideology, working girls were walking on a wire: while remaining independent, they were compelled to move towards marriage. If these innocent Eves missed a step, they would become fallen women- among those most condemned, prostitutes. Liao's prostitute story thus serves as a warning, policing the behavior of newly independent and innocent Eves. The second part of this paper, based on discourse analysis, suggests that the novel has the power of constructing reality, by reifying the social category of prostitutes and by reinforcing popular discourses on prostitution. Although the voices of prostitutes have been marginalized and censored, the novel, as a genre of heteroglossia, preserves their dissonant voices through which a new political space is opened for alternative subjectivities