現代中國「同志」的修辭學－－從郁達夫的《茫茫夜》到王小波的《革命時期的愛情》和《東宮．西宮》

The Rhetoric of ＂Comrade＂ in Modern China-From Yu Dafu's ＂Boundless Night＂ to Wang Xiaobo's ＂Love in the Revolutionary Period＂ and ＂East Palace, West Palace＂

本文追溯「同志」語意功能的系譜在現代中國政治語境下的流變，以友愛的修辭學為起點，思考「同志」在中國大陸如何再現其「罔兩性」。並且分析友愛的修辭學是如何在大陸同志書寫的語言裏含蓄地操作，從而管窺現代中國的男性建構和友愛修辭是如何在國族主義的意識形態下被組織起來。本文以20世紀二十年代郁達夫的《茫茫夜》與九十年代王小波《革命時期的愛情》和《東宮．西宮》為例，並且借用德希達的「友愛的政治學」，以及劉人鵬和丁乃非的「罔兩問景」方法論，論證這些文本是如何借「同志」之「形」，以及「友愛」的修辭學之「影」，來偷渡男性之間的「罔兩」情欲。

This paper ascends to the incremental change on genealogy of semantic function of ＂comrade＂ in political contexts in modern China. It starts from the rhetoric of fraternity, pondering how did ＂comrade＂ represent its penumbrae in mainland China, and analyzes how did the rhetoric of fraternity perform itself implicitly in gay stories of mainland China, thereby, taking a personal vision that how did masculinity in modern China and the rhetoric of fraternity become wrapped up in nationalistic ideology. This paper takes examples of Yu Dafu's Boundless Night of the 20's, Wang Xiaobo's Love in the Revolutionary Period of the 90's, 20^(th) century, and Estern Palace, Western Palace, quotes from Derrida's ＂The Politics of Friendship,＂ and the methodology of Liu Jenpeng and Ding Naifei's ＂Penumbrae Query Shadow,＂ to demonstrate how these texts resort to the ＂image＂ of ＂comrade,＂ and rhetorical shadow of ＂fraternity＂ as means to stow away ＂penumbral lust＂ between males.