台美文學的生命政治；跨境後人類與後鄉土逆寫：以潘相如的《身後朱顏》為例

Biopolitics, Transboundary Posthumanism, and Post-Nativist Writing Back in Taiwanese American Literature: An Example of Emily X. R. Pan’s The Astonishing Color of After

本論文關注台裔美籍英語作家潘相如青少年小說《身後朱顏》中的逆寫策略與鬼魅生命政治。本文指出此小說內化美國詩人荻瑾蓀書寫元素（如詩作；書信的互文性）；此外潘作也蘊含後人類質素，如「人－鬼－動物」間的轉換（母親多芮變為紅鳥以及姑姑金玲與風之間的轉換）；魔幻寫實與詭魅議題。從「域內」；「域外」台灣文學角度觀之，《身後朱顏》的後人類與（台灣）後鄉土質素由台－美文學跨境軸線串接，衍生為本文所欲描述的跨境後人類與跨境後鄉土視野。此外從美國文學角度來看，本文以逆寫概念觀察《身後朱顏》如何在美國文壇突出其台美文學文類，並探討潘作展演的台美二代族群生命政治以及「境外台美文學」跨境後在美國文學場域的歸化。就逆寫而言，本文認為此新銳作家運用文化翻譯策略以及語音中心主義相關的語言；語用質素以及台灣鬼魅符號達成特殊的台美人秀異。

This essay focuses on the“writing back”strategies and the uncanny biopolitics in the young adult novel The Astonishing Color of After by Taiwanese American writer Emily Pan. The novel internalizes American poet Emily Dickinson’s writing strategies (such as the intertexuality of poetry and letters) and incorporates posthuman elements—such as the transition between“human, ghost, animal”(Dora turning into a red bird, and Jingling transforming into Feng)—the issues of magical realism, and the uncanny. Redefining the border of Taiwan literature, the posthumanist and post-nativist literary elements in this novel originate through the transboundary Taiwanese American literary axis from which the essay’s transboundary posthumanist and post-nativist visions derive. This essay examines Pan’s work with the concept of writing back, probing how the Taiwanese American literary genre has stood out in the American literary field. The essay also discusses the biopolitics performed by the second-generation Taiwanese American ethnic group and how“foreign Taiwan literature”has been domesticated in the U. S. Regarding the writing back strategy, the essay maintains that Pan utilizes cultural translation, ghost symbols, as well as lingual and pragmatic elements intimately related to phonocentrism to achieve a specific distinction for the Taiwanese American ethnic group.