女性、鄉土、國族──以賴香吟的〈島〉與〈熱蘭遮〉以及李昂的《看得見的鬼》為例

Women, Hsiang-Tu, and Nationalism: Lai Hsiang-Ying’s “Island” and “Fort Zeelandia” and Li Ang’s Visible Ghosts

二千年以來有些台灣女性鄉土小說走向了地誌書寫、土著化和國族寓言化。本文藉用吳潛誠「地誌書寫」概念，葉石濤對「鄉土文學」與「台灣文學」概念的討論，並參照德立克（Arif Dirlik）和普拉茲妮雅克（Roxann Prazniak）的三種文化認同形構模式（modes of cultural identityformation）中的土著主義，認為在這些小說裡「鄉土」的意含不再只是「家鄉」，而也包含體認台灣這塊土地上四百年甚至幾千年的歷史記憶。繼而以賴香吟的〈島〉與〈熱蘭遮〉以及李昂的《看得見的鬼》為例，探究女性與鄉土、國族的錯綜關係。本文認為，〈島〉與〈熱蘭遮〉以當代台灣為背景，採隱喻手法探討台灣當前的島嶼性格以及對台灣島的母體想像，描寫疏離於鄉土的女性敘述者如何經由懷孕和返鄉重新認同了鄉土，藉此召喚台灣國族。《看得見的鬼》則將背景放在三百多年前到現今的鹿港，透過五隻女鬼所受的壓迫和顛覆父權的故事，側寫三四百年來的台灣歷史和土地上的變遷，寄寓台灣國族寓言。

A number of Taiwanese women’s hsiang-tu (or homeland)f ictions since 2000have moved toward topographical writing, indigenization and national allegory.This paper first deals with Wu Chien-cheng’s notion of topographical writing,Yeh Shih-tao’s discussion on “hsiang-tu literature” and “Taiwanese literature,” aswell as Arif Dirlik and Roxann Prazniak’s notion of indigenism in their discussionof the three modes of cultural identity formation. I argue that, in these women’shsiang-tu f ictions, hsiang-tu does not mean “homeland“ only, but it also impliesa recognition of the historical memories of the land of Taiwan over the past fourhundred or even thousands of years. And then I use Lai Hsiang-ying’s short stories“Island” and “Fort Zeelandia” and Li Ang’s collection of short stories Visible Ghostsas examples to investigate the complicated relationship between women, hsiang-tu,and nationalism. I contend that “Island” and “Fort Zeelandia” use a series of tropesto portray contemporary Taiwanese character and to imagine Taiwan as MaternalBody, and that the two short stories evoke Taiwanese nationalism by depicting thefemale narrator as re-identifying with the land of Taiwan through pregnancy andhomecoming. I argue that Visible Ghosts portrays the history and the geographicalchanges on the land of Taiwan in the past three and four hundred years throughstories about the oppression and subversion of f ive female ghosts in Lou-gang andthat in so doing the book becomes a national allegory about Taiwan.