從巴黎到京都：論史考特《我的巴黎》、朱天心《古都》中的互文性斷裂與歷史幽魂

(De)touring from Paris to Kyoto: Intertextual Rupture, Historical Specter in Gail Scott's My Paris and Zhu Tian-xin's The Ancient Capital

How does historical intervention affect the way that contemporary Canadian writers and Taiwanese writers conceptualize space, space imbued with historical reminiscences and colonial ramifications? This paper attempts to compare how Anglo-Quebec writer Gail Scott in My Paris (1999) and Taiwanese fictionist Zhu Tianxin in The Ancient Capital (1997) problematize history as a reliable, linear construct and complicate the city as both the convergence and disruption of collective memory. The two women writers reconceptualize historicity through intertextual dialogues in the urban spaces, Paris-Montreal and Kyoto-Taipei. Strikingly similar in their writing agenda, Scott and Zhu structure their fragmentary, intertextual narratives on Walter Benjamin's Paris, Capitale du XIXe siècle (1989) and on Japanese Nobel Prize winner Kawabata Yasunari's The Old Capital (Koto 1962), respectively. As the titles of both novels suggest, the writers appropriate colonial cities, Kyoto and Paris, as their dialogical and intertextual sites of re-delineating history. In Scott's text composed of a series of fragmentary diary entries and monologic travel narratives, Paris is the Benjaminian phantasmagoria with historical specter haunting the City of Light. In Zhu's autobiographical story, the intertextual travel between Kyoto and Taipei, between Kawabata's story and other references, is constructed as a detouring passage to the colonial nostalgia for Japanese occupation and the post-colonial melancholy among Taipei residents. The panoramic details of Taipei as a mimic construction of Kyoto discombobulate the reader's naive perception of the urban space as merely an architectural construction. The two novels conjure an innovative, digressive style of poetic codes of collage and montage; both narratives are barricaded by allegorical devices and estranged references. Through the fragmentary historical remnants, the heroines do not simply meander as Flâneuse through the city, but function as the Foucauldian archeologists excavating pieces of knowledge, bits by bits, and reassembling the fragments in their writing. 面對充滿著歷史記憶與殖民遺緒的空間時，當代加拿大作家與台灣作家將如何處理這個議題，而歷史的介入又會產生何種影響？本文試圖以英裔魁北克作家史考特（Gail Scott）的《我的巴黎》（1999）與台灣小說家朱天心的《古都》（1997）為底本，比較兩者如何對線性的歷史觀提出質疑，並論及城市的複雜性，試圖凸顯城市作為一個集體記憶聚散之地的特質。兩位女性作家都在都市空間中進行跨文本對話，進而重新塑造過往的歷史真實；兩部文本涉及的都市空間分別為巴黎與蒙特賽、京都與台北。史考特和朱天文的寫作策略十分相似，她們分別參照了班雅明（Walter Benjamin）的《巴黎十九世紀的首都》（1989）與日本諾貝爾獎得主川端康成的《古都》（1962），進而建構出兩人小說中互文、斷裂的敘事。正如兩本小說的標題所示，兩位作家皆以殖民者之都（京都與巴黎），作為其對話、互文的場域，企圖重新勾勒出歷史的面貌：在史考特由日記殘篇與旅途獨白構成的文本中，「巴黎」有如班雅明眼中的幻景（phantasmagoria），是一座與歷史幽魂糾纏的城市；而朱天心在其自傳體小說中，則遊走於京都與台北、川端康成的故事與其他文本的指涉之間，另闢一條路徑懷想日據時期的經驗，兼以抒發台北人經歷殖民後的憂鬱。台北不僅僅是台北自身，更是京都的模擬翻版，透過對台北地景鉅細靡遺的描述，讀者心中既有的台北印象遂逐一破滅。就小說技藝面而言，兩部作品使用了創新的拼貼形式，都採用寓言手法與迂迴的指涉，使得小說的敘事在推進中遭到阻斷。史考特和朱天心不僅像漫遊者一般在城市中漫步，他們也是效法傅柯式的考古學家，埋首於殘破的歷史遺骸中挖掘知識碎片，並在其小說中重新書寫、拼裝成形。