東／西之眼與女體中國：嚴歌苓《扶桑》移民圖象中的「視覺性」形塑

Eastern Eyes/Western Eyes and The woman's Body of China：Visuality of Immigration Image in Fusang

文學作品中的移民書寫是本文探討的重點，從嚴歌苓的長篇小說《扶桑》中以「視覺性」的角度去探討小說中複雜的移民情感與主體認同，嚴歌苓透過將情慾政治化，將史實截取賦予特殊情節，而本文從觀看切入，移民群體本身在脫離原鄉後必然存在對於家國的凝視以及所處地的觀看，在不斷地觀看與認同中形成複雜的文化感覺結構，小說中西方與東方之眼對於扶桑所代表的女體中國想像出發，探索嚴歌苓從《扶桑》所要表現出的移民史根源的重寫原因，進而去對小說情節演進中移民與白人文化的相互凝視與文化轉變，在小說中嚴歌苓卻在敘事佈局中擺入了說故事的敘事主體，似乎透過這一主體的現形做不同時代的移民史的相互觀看，此一用意似乎加深了視覺性的因素同時也是一必要面對的問題，究竟透過不同時代的相互對照，離散論述中的主體得到了什麼樣的位置？從文本中的視覺行為作為基礎不斷的擴展到文化層次，最後作結在嚴歌苓用何種敘事模式再造屬於他的新歷史，企圖勾勒出嚴歌苓《扶桑》中對於移民文化的處境以及在歷時變化下的圖像。 Literary work of immigration writing is the key point which this article discusses. Using 「visuality 」discusses complex emotion of immigrate and identification of subject in Fusang. Geling Yan retrieved History and gave a special plots by politicalizing sexuality. The immigrates who have the gaze of homeland and inhabited area leave their country. That forms a complex structure of feeling in continually gazing and identity. In novel, Eastern Eyes/Western Eyes imagine china through Fusang`s woman body. The study try to explore the reason which Geling Yan rewrote the history of Chinese immigration and emphasize in gaze of different culture. Gelling Yan also used complex narrative structure to express different culture met each other. This narrative method seems to make visuality influent deeper in novel. Consequently the study want to explain the Chinese immigration phenomenon and identity in Fusang. From the visual action to culture structure, what narrative that Geling Yan used is also the study analysis. Finally, the study attempt to draw the homeland imagination in Fusang.