三十年代中國文化論述中的法西斯妄想以及壓抑：從幾個文本徵狀談起

The Fascist Drive and the Symptoms of Paranoia in the Filmic and other Cultural Texts in China in the 1930s

本文以一九三四年上海聯華電影製片廠出產的《國風》與《大路》兩個電影文本以及郭沫若的詩作開始，展開徵狀式閱讀，指出右翼論述與左翼論述同時呈現的戰鬥修辭、唯心浪漫、心靈淨化、群性規範、壓抑與情慾轉移、同性情慾流動以及與群體「融化」、「結合」之渴望，以及獻身捐軀的熱情。本文藉由精神分析對於集體心理學以及妄想機制的研究，說明上述徵狀都具有妄想特質，也含有法西斯之內在衝動。中國三十年代的文藝論述以及政治修辭，甚至當時的力行社、文化復興運動、新生活運動之論述模式，也都流露出唯心浪漫之模式，追求新秩序，以正常、正確、健康之集體論述，排斥病態與奢華墮落的清潔檢查政策，以及朝向極權化的法西斯美學。因此，並不是「文以載道」或是「現代化」造成中國現代文學與文化論述場域呈現排斥異己的法西斯徵狀，而是國家主體展開形式化的過程中，急切追尋國家主體與新秩序的動力，使得個人放棄眼前之直接對象，壓抑個人之私人慾望，轉而投注於集體的慾望對象；同時，無法有效生產、不屬於健康進步的異質物便必須被排除於「正常模式」之外。這就是為何反組織化、反僵化政治身分的現代主義文學藝術成為現代化與國家主義形式化過程中所不容的異端。

Kuo-feng and Ta-lu, both produced by the Lien-hua Film Company in 1934, reveal the fascist drive and symptoms of paranoia through the rhetoric of romantic idealism, the projection of the utopian vision, and the dichotomization of the sacred and the demon. All these symptoms lead to the desire for the collective phallus, a new national order and national subjectivity. Such fascist mentalities corresponded to the contemporary cultural discursive fields, such as the literary debates on “the liberty people” or “the third kind of people,” the film censorship practiced by the governmental bureaus, as well as the Li-hsing Society and the related New Life Movement. The need to establish the norm and to purge the heterogeneous and the unclean, as demonstrated in all these cultural texts, is the fascist aesthetic required in the process of the formalization of the nationalist subject.