幻境」與「科幻境」：韓松《地鐵》中的異物、異類與志怪類型的變造

“Illusory Realms”and“Sci-Fi Realms”: Alterity, Otherness, and the Transformation of the Zhiguai Tradition in Han Song’s The Subway

韓松《地鐵》以大量並陳中／西、傳統／現代、科學／志怪的手法，塑造帶有鬼魅性質的「幻境」與未來想像的「科幻境」。本文深入「地鐵」的「中間狀態」意象，和「怪異非常」所形構的「不確定性」，觀察韓松如何操作傳統／現代、物質／精神、形下／形上的辯證性質，形塑《地鐵》中後工業、後資本與後社會等多重意識形態變遷中的自我圖像。本文首先從「想像力的政治」，解釋韓松如何定義「鬼」的神祕性，將其視作中國文化想像力的本源；同時挖掘《地鐵》展現的志怪思維，及拼湊古典與多重文學資源的身體變異觀，觀察韓松如何營造科幻的陌生感，突顯「不確定性」的影響。其次分析《地鐵》的敘事時態和時間感知變化，探討文本經由時空混成所回顧的中國百年現代化歷程。最後，本文試圖闡釋《地鐵》中的身體變異表現，及對資本主義和西方意識形態控制的抵抗。

In Han Song’s The Subway, a plethora of juxtapositions between East and West, tradition and modernity, science and the zhiguai tradition are employed, thereby crafting both a ghostly“Illusory Realms”and a futuristic“Sci-Fi Realms.”This paper delves into the imagery of the“in-between state”within The Subway and the resultant“uncertainty”constructed by the“strangeness.”It observes how Han Song manipulates the dialectical nature of tradition/modernity, material/spiritual, and empirical/metaphysical realms to shape a multifaceted self-image amidst the transitions of post-industrial, post-capitalist, and post-socialism ideologies depicted in The Subway. Primarily, this paper examines the“politics of imagination,”elucidating how Han Song defines the mystery of“ghosts”as the source of Chinese cultural imagination. Simultaneously, it explores the zhiguai thinking and Eastern perspectives on bodily transformations depicted in The Subway, investigating how Han Song engenders a sense of alienation in science fiction while highlighting the impact of“uncertainty.”Secondly, it analyzes the narrative tenses and shifts in temporal perception within The Subway, examining how the text reflects upon China’s century-long process of modernization through its blending of time and space. Lastly, the paper endeavors to elucidate the portrayal of bodily transformations in The Subway, as well as resistance against capitalism and Western ideological control.