王家衛的含蓄美學：《花樣年華》、《2046》、與《一代宗師》中的肛門滯塞;Wong Kar-Wai'S Aesthetics of Reticence: Anal Blockage in In the Mood for Love, 2046, and the Grandmaster

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Title:	王家衛的含蓄美學：《花樣年華》、《2046》、與《一代宗師》中的肛門滯塞;Wong Kar-Wai'S Aesthetics of Reticence: Anal Blockage in In the Mood for Love, 2046, and the Grandmaster
Authors:	葉德宣
Contributors:	國立中央大學英美語文學系
Keywords:	恥感;憂鬱;肛門性;背影;含蓄美學;王家衛;《花樣年華》;《2046》;《一代宗師》;shame;melancholia;anality;the back view;aesthetics of reticence;Wong Kar-wai;In the Mood for Love;2046;The Grandmaster
Date:	2018-12-19
Issue Date:	2018-12-20 12:03:21 (UTC+8)
Publisher:	科技部
Abstract:	英美學術界在處理憂鬱這個理論概念時，多半徵引佛洛伊德在〈傷逝與憂鬱〉（”Mourning and Melancholia）之說法，認為憂鬱是一種口腔認同，藉由對於雙親的併入來完成主體的創構。然而這種理論架構預設的是個人主義式的主體，一旦來到華人高度重視禮教形式一致性的恥感文化（shame culture）社群脈絡，便失去了分析的精準度。有別於西方理論將憂鬱和恥感視為兩種不同情感，兩者在華人文化中其實互為表裡。而要分析華人文學與文化文本中的憂鬱／恥感，就必須回到劉人鵬、丁乃非曾經批判的含蓄美學傳統中常出現的背影或罔兩意象，兩者在華人情境中互為表裡。我想改以心理分析的進路重顧她們理解的含蓄美學，透過「肛門性」（anality）來理論化與此部位形成換喻關係的人物背面／背影。本三年期研究計畫將分別就王家衛近十年來的三部主要劇情長片《花樣年華》、《2046》及《一代宗師》作為主要分析文本，解析其中之美學與情感意涵。三部影片的含蓄美感體現方式各不相同，故我將分就《花樣》中頻頻出現的人物背面、《2046》角色之重影與鏡像關係、以及《一代宗師》對恥感文化的後設評論，探問肛門滯塞如何造就帶有憂鬱／恥感韻味的含蓄美感及它所意味之華人群體主義壓抑如何矛盾卻巧妙地形塑出一種背離社群主義的另類美學與倫理可能。 ;Most critics in the West, when tackling the notion of melancholia, often resort to Freud’s “Mourning and Melancholia,” in which he defines the term as an oral mode of identification derived from the baby’s incorporation of its parents, which in turn leads to the constitution of its subjectivity as such. This kind of theoretical formulation, however, already presupposes an individualist subject, one that cannot be mapped onto a shame culture like Chinese society which characteristically stresses conformity to formal etiquettes. Instead of seeing shame and melancholia as distinct affects as those academics do, I argue that there are close associations between them. If we are to conceptualize the entanglements of these two affects as witnessed in Chinese literary and cultural texts, we need to address imageries of one’s shadows and their penumbrae often seen in the Chinese poetics of reticence which had once been subjected to severe criticism by Jen-peng Liu and Naifei Ding. I intend to re-read their understanding of the poetics of reticence in psychoanalytic terms, using “anality” instead of “orality” as my analytic crux to theorize the figure of one’s back, which bears a metonymic relation to the anus. I shall employ as my exemplary texts three major feature films by Wong Kar-wai from the past fifteen years or so -- In the Mood for Love, 2046, and the Grandmaster -- and set out to tease out the aesthetic and affective implications of these works. Since the above three films are distinctively different from one another in their figuration of the beauty of reticence, I aim to focus on the frequent appearance of characters’ back view in In the Mood for Love, the overlapping shadows of and mirroring relations between characters in 2046, and the meta-discourse on shame culture in The Grandmaster respectively as I begin to interrogate how anal blockage helps constitute an aesthetics of reticence that savors of melancholy and shame and how its underlying Chinese communitarianism paradoxically yet adeptly creates an aesthetic and ethical possibility characterized by its deviation from that communitarianism.
Relation:	財團法人國家實驗研究院科技政策研究與資訊中心
Appears in Collections:	[Department of English] Research Project

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