「時尚跟黨走」：《芬尼根守靈II.3》與（微）法西斯時尚──分子

“Keep up the fascion”: Finnegans Wake II.3 and (Micro)Fascion-Molecules

《千高原》透過代達洛斯之童語展示法西斯社會的分割機制，並暗示《芬尼根守靈》這本「叢根之書」隱藏著極權潛勢。然而，加尼葉認為德勒茲與瓜達希對喬伊斯的解讀受到「伊底帕斯式」詮釋傳統的誤導，而未意識到《守靈》完美體現無中心地下莖。《守靈II.3》的文本生成過程對應著歐洲在法西斯主義下解畛域和再畛域的動盪期，而《守靈II.3》之「混宇」將克里米亞戰爭、愛爾蘭內戰和納粹侵略跨時空疊合的同時，亦召喚著《裁縫哲學》不斷重裁／轉述的布料／文本。喬伊斯用以縫合紛雜敘事的混成詞“fascion”乃「時尚」之古字，褶入法西斯的字根「束棒」並諧擬墨索里尼的政令：「義大利女人務必時尚跟黨走。」透過分裂分析喬伊斯將時尚與法西斯融合為一的關鍵「混語」，本文企圖解開《守靈II.3》中俄羅斯將軍與愛爾蘭小兵、北歐主義挪威船長與本土主義裁縫柯西，以及法西斯時尚產業之間的千絲萬縷，並藉此重新思考喬伊斯是否消解了微法西斯時尚－分子結晶成法西斯克分子的慾望。

Mille Plateaux not only references Stephen Dedalus’s baby talk to explicate fascist segmentarity but considers Finnegans Wake a“livre-racine fasciculee.”As fascicle and fascism are etymologically connected, Mille Plateaux implies a fascist potential in Joyce’s work. However, Marie-Dominique Garnier contends that Deleuze and Guattari, misled by an“Oedipal”reading of the Wake, fail to recognize its embodiment of rhizomatic acentricity. Written between 1923 and 1938, Book II Chapter 3 of Finnegans Wake mirrors the deterritorialization and reterritorialization of Europe’s borders under fascism. While integrating the Crimean War, the Irish Civil War, and the territorial expansion of Nazi Germany, the Wakean“chaosmos”conjures Sartor Resartus, wherein texts and textiles are continuously refashioned.“Fascion”––the key concept that Joyce employs to suture his heterogeneous narratives––folds“fascio”into“fashion”and parodies Benito Mussolini’s edict that“Italian women must keep up with fashion.”Through schizoanalyzing Joyce’s“portmanteau”that fuses fashion and fascism, this article seeks to unravel the entangled strands among the Russian general and the Irish soldier, the Nordicist Norwegian captain and Kersse-thenativist- tailor, as well as fashion industries under the aegis of fascist autarky, so as to rethink whether Joyce has dissolved microfascion-molecules’desire to crystallize into molar fascism.