文本裡有蹦蹦戲花旦嗎？

Is There a Dan of Ping Opera in the Text?

本文嘗試以當代女性主義文本閱讀的雙重提問──「文本裡有女人嗎？」、「女人裡有文本嗎？」──為出發點，切入張愛玲為其第一本小說集《傳奇》所寫的序言〈再版的話〉。全文分為三個主要部份。第一部份處理〈再版的話〉中「蹦蹦戲花旦」的末世寓言，展現其如何擺盪在「棄婦」與「蕩婦」的曖昧不確定性之間，並由此牽帶出兩種截然不同的宗法父權位置。第二部份將此宗法父權的批判，從文化機制延伸到語言機制，一探〈再版的話〉如何引經據典、如何重複引述，如何在語言延異的過程中「時過境遷」。第三部份則將此「看不見的纖維」之重複引述，延伸到張愛玲所言「感情的公式」，拉出從《詩經》、《白兔記》到〈傾城之戀〉所呈現「棄婦」感情公式之變易。而「去宗國化」乃是此女性主義文本閱讀的主要意圖，嘗試同時解構宗法父權作為文化機制在性別意識形態上的掌控，以及宗法父權作為「陽物理體中心」之語言霸權。

The paper will be divided into three major parts. The first part starts with the doomsday allegory of “the Dan of the Ping Opera” to demonstrate how the Dan character could oscillate ambiguously between “the deserted wife” and “the promiscuous widow” as two distinct (oppo-)postions in patriarchy. The second part attempts to criticize patriarchy as both cultural and linguistic mechanisms. It takes the “invisible fiber” stated by Eileen Chang as the repetitive citationality of classic expressions to foreground how the deferring and differing forces in the writing process of différance can be disclosed from the cover design to the preface of Chuanqi (The Legend). The third part takes Chang's “emotional formula” as an extension of repetitive citationality or iterability to trace the emotional formula of “the deserted wife” from Shih Ching, Baituji to “Love in a Fallen City” to demonstrate how this emotional formula is re-embodied and simultaneously repeated with variations. This feminist reading is not only an exercise of “de-patriarcalization,” but is also an attempt to deconstruct the ideological domination of patriarchy as a cultural mechanism and at the same time to destabilize patriarchy as the linguistic mechanism of phallogocentrism.