禁忌與踰越：論葉石濤〈稻草堆裡的戀情〉的情色

Taboo and Transgression: On the Pornography of Yeh Shih-Tao’s“The Love in the Straw Bale”

葉石濤（1925-2008）向以文學乃現實環境之產物，是故其作品始終根植於臺灣土壤，以其切身經驗及臺灣本土人事為核心，反映置身歷史、政治、經濟脈絡變遷下臺灣人民的共同經驗及心聲，其中有關兩性議題的小說因其晚年大膽的情色書寫而備受關注。本文主要聚焦於其眾多兩性書寫中的「稻草堆裡的戀情」，一者，此一相同材料反覆出現在作者的隨筆與小說中，兩類文體文本的敘事觀點都均採第一人稱，因而對文本中女子的情色心理、慾望及反應付之闕如，缺乏合理的交代；二者，無論在此小說文本或隨筆中，關於女性性觀念與自主議題所涉及不倫與道德的批判，相較於作者其他作品，有著更多的貶抑，其故何在？本文嘗試以巴代伊（Georges Bataille，1897-1962）《情色論》中「禁忌與踰越」的觀點，試圖從接受美學的視角為解讀這段故事中的迷津提供另一種詮釋及說明。

With the belief that literature is the product of the real environment, Yeh Shih-tao’s (1925-2008) lifelong oeuvre has been derived from Taiwan’s soil, with a focus on his personal experience and what was happened to the local people and issues occurred in Taiwan in an attempt to reflect the experiences and feelings shared in common during the historical, political, and economical shifts. Among these, some works concerning gender issues audaciously depicted with pornographic writing grasp readers’ attention in his later years. This study mainly focuses on Yeh’s “The Love in the Straw Bale” with two threads: on the one hand, the same material repetitively occurs throughout author’s essays and novels, in which the first-person narrative is largely used in both genres, because of the inability of the I’s in describing the erotic psychology and desire towards the girl in the text as well as the lack of the I’s in depicting a reasonable storyline. On the other hand, regarding both of his novels or essays, this study attempts to ask why the author applauds, rather than condemns, women’s attitude toward sex and independence, which address the immoral issues, if compared with his other writings. In this study, Georges Bataille’s notion of transgression and taboo raised in his Eroticism is employed in an attempt to offer another interpretation and reasonable explanation about the puzzles within the story from the perspective of reception aesthetics.