張愛玲的遺囑：無專屬與文本迻譯

The Last Will of Eileen Chang Improper and Textual Multiplicity

本論文嘗試展開對張愛玲英文遺囑的細讀，以期啟動法律文件與文學書寫之間的差異化思考過程。全文分成四個部份進行。第一部份凸顯「專屬邏輯」如何運作為遺囑的法律基礎以及其如何得以被鬆動，箇中關鍵便在於揭露法律「字義」規則之中陰魂不散的「文學」。第二部份聚焦於遺囑內容第一項的遺產處理，展開possessions一詞可能帶來的各種迻譯與疑義，以此凸顯法律所有權的可能和語言所有權的不可能。第三部份聚焦於遺囑內容第二項的遺體處理，凸顯單字desolate與假設語句if on land所帶來的不確定性，如何引發「海葬」與「陸葬」的爭議。第四部份則回到「遺囑即書寫」、「書寫即遺囑」的基進解構思考，凸顯「我的死亡」之可能與不可能，遺囑作為書寫文字的符號，如何得以脫離了立遺囑人的主觀意識與意圖，並得以在其身後展現「可重複的閱讀性」。

The paper tries to enact a close reading of Eileen Chang's will written in English in an attempt to initiate a differentiation between legal document and literary writing. It is divided into four parts. Part I foregrounds how ''the logic of the proper'' functions as the legal foundation of the will and how the ''literal'' rule of the law is constantly haunted by the ''literary.'' Part II focuses on the treatment of property by mapping out the multiple translations and controversies brought by the word ''possessions'' to accentuate the possibility of legal ownership and the impossibility of linguistic ownership. Part III focuses on the treatment of remains, highlighting the uncertainty brought by the word ''desolate'' and the conditional mood of ''if on land,'' and how they could trigger the dispute over ''burial at sea'' versus ''burial on land.'' Part IV revisits a deconstructionist thinking in the form of ''will as writing'' and ''writing as will,'' by foregrounding the (im)possibility of ''my death.'' It discloses the ''repeatable readability'' of the will as linguistic signs of writing that can be separated from the consciousness and intention of the testator and can survive after the author's demise.