反帝左翼傳統的追尋與酷兒再造：以〈趙南棟〉、《夜浪拍岸》為對話的解殖探問

Taiwan’s Anti-Imperial Leftist Tradition and Its Queer Reinvention: A Decolonial Dialogue Based on‘Zhao Nandong’and Socialism in the Capitalized Nude

1987年解嚴前夕，陳映真在《人間》發表中篇小說〈趙南棟〉，為50年代白色恐怖政治犯及其後代的精神構造塑像，對知青拋出了50年代左翼理想主義在消費社會何以為繼的政治課題。翌年，小劇場導演／酷兒劇作家田啟元（1964-1996）的布來希特史詩劇場《夜浪拍岸》以一底層歌舞團批判中華民國的新殖民依附，並通過歌舞團演員自身的勞動現場探索無產青年活在解嚴當下的生命意義。本文把《夜》劇視為對〈趙南棟〉解嚴問題意識的回應，企圖藉由兩個文本的脈絡化細讀，串起一個關於台灣反帝左翼傳統的追尋與再造的對話，藉此探索、回應新殖民情境下的消費個人主義精神困境。本文論證，小說的問題意識構築在白色恐怖瘖啞與消費世代失語的接合上，敘事體主要通過一位自省的慾望主體（趙爾平）批評了身陷其中的享樂主義，再通過趙父一代人縱身投入革命的「無我」精神及台籍菁英找尋祖國的去殖民認同歷程，把「唯我」個人主義框架予以相對化，從而為消費世代讀者提供了一個可反身觀照自身及所處歷史當下的參照點。而田啟元的《夜浪拍岸》則在承襲陳映真早期小說揭露戒嚴體制欺罔的批判思想基礎上（如處理軍中同性情慾與失鄉老兵的〈纍纍〉），一方面演繹〈纍纍〉，以軍官上妓院場景嘲諷附庸美、日的黨國主體及其狂妄自大心態，另方面則以歌舞團演員沉湎性愛的醉生夢死喻示新殖民依附經濟下年輕人的失根失語，並提出以工農兵妓等底層小人物維生的勞動位移為軸心的普羅團結政略，做為走出精神困境解方。本文指出，這寬廣的反污名陣線不但有別於新左身份認同政治及其預設的個人主義框架，而且也蘊含了超克冷戰對峙思維的潛力。追溯這個早於90年代西方酷兒理論引進台灣前的在地反帝左翼酷兒思想浮現，將有助吾人重新理解同性戀民族主義酷兒知識生產狀態及其解殖工程。

In 1987, just before the lifting of Martial Law in Taiwan, Chen Yingzhen published the novella‘Zhao Nandong’. With its portrayal of the spiritual dynamic between political prisoners of the 1950s White Terror and their descendants in the 1980s, Chen raises a crucial question: how can the antiimperial leftist idealism of the 1950s be revitalized in the era of consumerism? The subsequent year saw the debut of Socialism in the Capitalized Nude, a play written and directed by Tien Chiyuan (1964-1996), a prominent figure in Taiwan’s Little Theatre Movement. The Brechtian play deploys a low-end entertainment troupe to critique the ROC’s neocolonial dependency while exploring the meaning of life for proletariats amidst post-martial law social unrest. This article situates Tien’s play as a response to‘Zhao Nandong’. Through contextualized reading, it explores Taiwan’s anti-imperial leftist tradition and its relevance to the spiritual crisis of consumer individualism under the Cold Division. The narrative device of‘Zhao Nandong’, I argue, installs the protagonist (the elder son) as a desiring subject who self-critiques the consumer hedonism in which he is deeply involved. The individual framework of that self-critique is further relativized by the‘selfless’spirit of the father’s generation in their involvement with the Chinese Revolution and their quests for decolonization. Such relativization, I suggest, facilitates a mode of self-reflexivity for readers of self-centered consumer generations to engage with the historical present they inhabit critically. Meanwhile, underscoring Tien’s engagement with Chen’s thought, the article shows how Socialism in the Capitalized Nude extends Chen’s critique of the Martial Law Regime as a systemic deception in his homoerotic story‘LeiLei’(1966) to expose the US/ Japan-dependent Kuomintang nationalist subjecthood as megalomaniac-like. While the play indexes sexual indulgence as a metaphor for colonial aphasia and spiritual numbness among the young troupe actors, it also gestures a possible way of spiritual rebirth by allying with other proletariat figures displaced by Cold War developmentalism, such as peasants-turned-workers, veteran soldiers, and prostitutes. The article argues that this anti-stigma alliance differs from the individual-centered identity politics of the New Left and has the potential to overcome Cold War antagonism. The tracing of Taiwan’s antiimperial tradition thus necessitates a renewed context for rethinking the decolonizing work of queer knowledge production in the era of homonationalism.