《吸血鬼掛毯》中的身份偽裝敘事

Passing Narrative in The Vampire Tapestry

美國小說家蘇茜．麥基．查納斯在1980年出版的作品《吸血鬼掛毯》富有創意地探討了跨物種關係中的複雜性議題。區別於傳統的吸血鬼，查納斯筆下的吸血鬼維蘭德在數個世紀的生命進程中緩慢衰老。由於沒有已知的同類，維蘭德可謂踽踽獨行於世。兼具上述特徵的維蘭德通過人類學教授的偽裝身份掩護其吸血鬼行徑。由於查納斯將維蘭德設定為接近人類及動物的自然性存在，因此他的身份偽／不偽裝伴隨著其生成－－人／生成－－動物的轉變。可以說，維蘭德代表了某種超越亦或逃逸物種界限的存在。本論文試圖藉由德希達和阿岡本關於人和動物關係的哲學論述，探討查納斯如何在小說中通過吸血鬼維蘭德的身份偽裝敘事展演其關於人類和動物、人性和動物性，以及跨物種聯結等議題的多重思考。同時，本文亦藉由義大利學者羅西．布拉伊多蒂等人對於後人類的哲學觀點，檢視小說中對跨越物種及空間界限的多重生命形式的想像所蘊含的關於後人類時代超越物種邊界的可能性。

Suzy Mckee Charnas's The Vampire Tapestry, published in 1980, creatively applies passing narrative to explore the complexities of trans-species relationships, especially between humans and animals. Compared with traditional vampires, Charnas's Weyland is an evolutionary vampire with a life of centuries and an appearance more similar to his human prey. Besides, he is the only one of his kind in the world. With these characteristics, Weyland wears a human façade and passes as an anthropology professor in human society. Designed by Charnas as a character more in line with natural beings, the passing and unpassing1 of Weyland correspond to his becoming-human and becoming-animal. As such, his existence represents a line of flight or transcendence from fixed species boundaries. This paper, mainly by means of Derrida's and Agamben's philosophies on human-animal relations as well as Rosi Braidotti's posthuman philosophy, argues that The Vampire Tapestry illustrates Charnas's trans-species imaginations of human-animal relationships, trans-species connections, as well as the possibility of transcending anthropocentric species boundaries.