主導文化與洪凌、紀大偉的科幻小說

Dominant Culture and the Science Fiction Works by Hong Ling and Chi Ta-wei

本論文以活躍於九○年代台灣科幻界的兩位作家─洪凌與紀大偉─為討論對象，嘗試針對九○年代主導文化與科幻場域互相滲透的特殊現象提出解釋與說明。論文分成兩部分。第一部分從文化社會學者布迪厄（Pierre Bourdieu）有關場域（field）的討論切入，試圖釐清洪凌與紀大偉的科幻在台灣文學場域的特殊位置。布迪厄所描繪的場域是個充滿內在張力的力場，在其中不同位置或立場的聲音共同參與論述合理性的爭奪。以場域的概念來理解台灣科幻是嘗試以「關係性」思考來彌補科幻評論中常見的「本質論」思考的不足。我們固然應認真思考、甚至創造台灣科幻研究的合理性，但也不必過分強調主流文學與學術研究機制的排擠，以致於陷入科幻「本質論」的迷思。論文的另一關鍵詞「主導」則是由英國左派學者威廉斯(Raymond Williams)所提出，指的是文化生產與消費系統內的強勢文化。不論布迪厄的「場域」或威廉斯的「主導」都突顯出作品與社會、文本與歷史的辯證關係。論文後半則以後自然、後真實觀點閱讀洪凌的〈記憶的故事〉以及紀大偉的〈膜〉和〈他的眼底，你的掌心，即將綻放一朵紅玫瑰〉。除了將作品置於世紀末性別、慾望、性關係的論述脈絡外，也試圖以跨文化流動角度詮釋兩位作家跨越科幻邊陲、介入主導文化的生產與消費此一特殊的文化現象。

This paper examines the interpenetration between the dominant culture and Taiwan science fiction in the 1990s. The first part of the paper examines the special position Hong's and Chi's science fiction works occupy in the literary ＂field＂ in Taiwan. For Pierre Bourdieu, a ＂field＂ is a space in which diverse, competing forces constantly interact with each other to fight for discursive legitimacy. Bourdieu's theory of ＂field＂ is helpful for our understanding of Taiwan science fiction, which should not be perceived as an independent, autonomous genre or sub-genre, but as a semi-independent instance of relative autonomy. Another keyword of this paper is ＂the dominant,＂ a term used by Raymond Williams to designate the most effective and influential culture within the system of literary/cultural production, circulation, and consumption. Both Bourdieu's ＂field＂ and Williams's ＂the dominant＂ highlight the dialectical intertwinement of the literary and the social, or the textual and the historical. The latter part of this paper is a reading of Hong's and Chi's science fiction stories as post-natural, postmodern, post-human works. Reading them ＂relationally＂ rather than ＂essentially,＂ I place these stories mainly in the discursive context of feminism and queer theory, two discourses which have increasingly established representational and discursive legitimacy in Taiwan in the 1990s.