戰爭的聲紋──《睡眠的航線》中的聲音景觀及其後記憶建構

The Spectrogram of War: Soundscape and Postmemory Construction in Routes in the Dream

過往有關《睡眠的航線》的研究，多是放在吳明益如何以其生態的視角，開啟台灣歷史小說書寫的可能，或是文本如何以夢境與睡眠作為書寫的策略，進行戰爭記憶的爬梳。本文則是嘗試以「聲音」作為嶄新切入的角度，重新閱讀吳明益《睡眠的航線》；探查其文本中各種聲音景觀的建構，具有怎樣的意涵。《睡眠的航線》中的「觀世『音』」，是神聖的聆聽主體，亦是世間萬物聲音檔案的管理者；而在此之下的主要聲音檔案描述，則為父親三郎的各種聽覺經驗。戰爭時空下，軍事的訓練、飛機轟炸下所發出的聲音，還有身體受創時所發出的聲響；除此，還有戰爭之後，日常生活中的收音機、流行歌曲和各式現代聲音媒介的聲響，以及父子共通的聽覺徵狀；經由此些聲音景觀和檔案的交織，媒合文本中當下與過往的歷史與空間記憶，並與生態的論述產生連結。此外，本文試圖再從「後記憶」的概念，說明小說藉由聲音景觀、聲音檔案的生產和想像，與不同主體衍變、相通的聽覺感知，連結起不同世代的時空記憶，進而讓缺乏戰爭經驗的後代，得以重新聆聽、體驗台灣歷史中的身體暴力；且吳明益在創造戰爭與相關聲音景觀的同時，亦創造出自己獨特的聲音美學。

"The majority of past research on Routes in the Dream focuses on either how Wu Ming-yi uses an ecological perspective to enable the possibility of writing Taiwanese historical novels, or else on how the text uses dreams and sleep as a writing strategy to unravel memories of war. This article, on the other hand, uses“sound”as a novel approach to re-read Wu Ming-yi’s Routes in the Dream while exploring the connotations of the various soundscapes constructed within the text.The bodhisattva Guanyin - the“Perceiver of the World’s‘Sounds’”- is the divine listening subject in Routes in the Dream, as well as the administrator of the sound archives for the entire world. Among these, the main sound archive describes the auditory experiences of father Saburо̄. In a time and place of war, there are the sounds of armies training, of aerial bombings, as well as the sounds of bodies being injured.After the war, there are the everyday sounds of the radio, popular music, and other various form of modern media, as well as the shared auditory hallucinations of father and son. Through the interweaving of soundscapes and archives, the present within the text is linked with past historical and spatial memories, thus creating a connection with ecological discourse. Moreover, by using the concept of“postmemory,”this article explains how the novel joins together the memories of times and spaces of different generations with the evolving and interlinked auditory perceptions of different subjects through the production and imagination of soundscapes and sound archives. This allows later generations that lack the experience of war to once again hear and experience the physical violence within Taiwan’s history. At the same time, as Wu Ming-yi creates war and related soundscapes, he also creates his own unique auditory aesthetic."