放逐與游牧：談《孽子》的空間景象與身體書寫

Exile and Nomadism: On the Landscape and Body Writing in Crystal Boys

《孽子》是當代同志論述的經典文本，對於《孽子》的討論大多聚焦於家庭倫理或性別認同，而本文則嘗試由空間與身體書寫為論述觀點，並以其他的同志文學文本為輔，觀察《孽子》中身體與空間之間的互動。在《孽子》中，性別書寫是一重要的前提，在此前提下，推衍出此一族群的特殊空間利用與文化地景，最重要的特性即具有高度的隱匿性與歸屬感；就身體書寫而言，筆者刻意避開關於情慾的書寫，而是由內部的血液循環到外部的身體繞行，以及身體閱讀空間三面向切入，發現在這些隱蔽的空間中，因具有歸屬感，身體即轉化為一種符號，或者將空間變成展示自我的舞台，都是將公共領域化為私領域的一種行為。本文結合諸多的學科，由不同的角度來審視《孽子》，期望能挖掘出更不同的文化層次。 Crystal Boys is a classic of contemporary queer discourse and most discussions on it mainly focus on familial ethnics and sex-gender identity. However, this paper seeks to use the discursive viewpoints of spacial and bodily writing with other texts as an auxiliary to observe the interaction between body and space in Crystal Boys. In this book, gender writing is the major presupposition, from which this book derives the special usage of space and cultural landscape exclusive for homosexuality. The sense of belonging and the hiddenness are the most significant features of the gathering spots for the homosexual. When it comes to body writing, the author intentionally avoids writing about sexual desire; instead, he develops his work with three different dimensions—inner blood circulation, physical body and body as reading space—to find out the fact that in these secret gathering places, body becomes a kind of sign owing to possessing the sense of belonging and body makes itself the stage of performing. Both transformations turn the public sphere into a private one. In short, this paper combines various subjects to examine Crystal Boys in different angles, hoping to dig out further diverse cultural strata to converse with previous studies.