扮裝臺灣：《行過洛津》的跨性別飄浪與國族寓言

Taiwan Cross-Dressed: Transgender Diaspora and National Allegory in ＂Passing through Luo-chin＂

本文認為作為施叔青「台灣三部曲」的第一部，《行過洛津》乃透過男扮女裝的乾旦許情在戲曲和生活中的性別操演，展現複雜的身分認同、性別流動與家國想像。在諸多線索中，我認為尤其須重視許情的跨性別處境與全書的敘事策略，方能更深刻理解其與國族寓言間的多重關係。本文一方面結合巴特勒的「性別操演論」和詹明信的「國族寓言說」，另一方面以中國戲曲展演和古典小說的敘事觀點介入，並對照台灣的國族處境與跨性別處境，為文本提供一個在地化的詮釋脈絡與分析途徑。文中指出《行過洛津》透過一種「擬說書」的敘事手法，一方面再現許情的「跨性別飄浪」─這種既特殊又艱難的自我認同、反思與處境；另一方面也輻射出多樣的底層社會與家國想像藍圖。而跨性別與台灣國族間不僅相互指涉，小說更從跨性別觀點批判主流國族論述的陽剛化傾向與生殖主義迷思。尤其可貴的是，在拆解各種本質化的疆界以寄託新的國族寓言之際，《行過洛津》也同樣重視個體在生存場域中，因各種越界實踐所遭遇的困境，而以情感連結作為弱勢者在飄浪情境裡一種安身的方式，並為個體與家國之間構築另一種認同的可能。本文認為《行過洛津》以許情的跨性別處境在不同時空、階段所產生的不同變化為喻，不僅再現了性別、身分越界與情感、認同流轉的可能與艱難，也為國族論述提供了多元的視角與關照。

This article argues that Shu-ching Shih's novel ＂Passing through Luo-chin＂ demonstrates a complexity of identities, fluid gender, and the national imaginary through the gender performativity of the protagonist, a male actor playing the part of woman during the Qing period. Attentive to the protagonist's cross-dressing and the narrative strategy of the novel, this presentation analyzes the novel's multiple relations with the national allegory. Inspired by Judith Butler's theory of gender performativity and Fredric Jameson's discussion of national allegory, this presentation relates the novel to Chinese opera and Chinese classic fiction, situates it in Taiwan's colonial history, and identifies its political metaphors of Taiwan. Adopting the style of ＂storytelling＂ narrative tactics which I call ＂simulated storytelling＂ (＂ni-shuo-shu＂), Passing through ＂Luo-chin＂ not only successfully represents the protagonist's ＂transgender diaspora＂-a unique and difficult means of expressing self-identity, self-reflexivity, and self-positioning, but also reflects the diverse facets of working-class Taiwanese society and the national imaginary. With a critical view similar to that of transgender studies, the novel can also be read as a criticism of the preoccupation with heteronormative masculinity and the reproductivist family. ＂Passing through Luo-chin＂ suggests a certain connection of affect as an alternative way out for the socially marginalized characters to position themselves in the diaspora and redress their personal and national identities. In addition to delineating the possibilities and difficulties of gender- and identity-crossing and the fluidity of affect and identities, ＂Passing through Luo-chin＂ also provides multiple perspectives and reflexivity on the national imaginary.