Fetishizing the Loss: The Phantasms of Eros in Zhu Tianxin's Writings of Melancholia

戀“失”癖：朱天心憂鬱書寫中的愛慾幻像

10.6420/DHJHS.200707.0269

許甄倚(Jen-Yi Hsu)

朱天心 ； 哀悼與憂鬱 ； 戀物癖 ； 愛慾 ； 記憶 ； 失落 ； 時間失序 ； Zhu Tianxin ； mourning and melancholia ； fetishism ； eros ； recollection ； loss ； temporal disorder

東華人文學報

11期（2007 / 07 / 01）

269 - 302

英文

此篇論文分析朱天心1989年後創作的作品當中所表達的時間失序現象。時間失序的症狀如戀物、憂鬱、成癮等，充斥朱的作品如《想我眷村的兄弟們》、《古都》、《漫遊者》，甚至新作〈南都一望〉；象徵著作家如患強迫症般的渴望藉由中止或控制時間的流動，來和「失落」建立關係。論文首先分析班雅明的「歷史的天使」，藉由對這個寓言的分析，來剖解現代性當中時間焦慮的現象。班雅明著名的天使在過去與現在、死去的與現存的之間，誘發出一種極富辯證價值的緊張關係，這種對時間的辯證討論，也將導入對朱作品的分析中，探討她沉溺失落與執戀憂鬱的文本症狀。佛洛依德1917年的〈哀悼與憂鬱〉將提供我們剖析憂鬱情結的時間面相。根據佛洛依德的分析，憂鬱和哀悼不同，憂鬱對失落愛物的持續愛慾投入，具有病態的特質。然而，關於憂鬱對失落物的愛戀與執著，施紗蕊、阿岡本、與巴特勒提供給我們比佛洛依德更寬廣的解讀空間；不但揭示出此依戀情結的社會基礎，還有其美學、倫理、與政治層面。這些理論家對憂鬱的闡述，提供了本論文討論朱天心憂鬱書寫的理論架構。

This paper analyzes the literary articulation of temporal disorders in Zhu Tianxin's mature stage of writings that are produced after 1989. Varied forms of temporal disorders such as fetishism, melancholia, or addiction pervade Zhu's works (mainly Remembering My Brothers from the Military Compound, The Old Capital, The Flâneur, and her latest ”A Glance toward the Southern Capital”) and indicate the writer's compulsion to have a relationship to loss by suspending or controlling time. The essay begins with the investigation of the phenomenon of temporal anxiety by analyzing Walter Benjamin's allegorical figure of the angel of history. Benjamin's famous angel induces a productive tension between the past and the present, between the dead and the living, and can be usefully factored into our discussion of Zhu Tianxin's continuing obsession and dialogue with loss and its remains. Freud's important essay ”Mourning and Melancholia” (1917) further provides us with a ground to explore the temporal dimension of melancholia, a peculiar mental state that is ”pathological” and opposes to ”normal mourning.” However, Juliana Schiesari, Giorgio Agamben, and Judith Butler give us a better understanding of melancholic attachments to loss, making visible not only their social bases but also their aesthetic, ethical, political aspects. These critics' elaboration of the discourse of melancholia furnishes a discursive frame for my reading of Zhu Tianxin's melancholic writings

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