"Uninhabited" Land Intruded: An Environmentalist Study on The Tempest

入侵 「無人島」：莎士比亞《暴風雨》之環境主義研究

10.30092/JHCLANCHU.201209.0002

李晶菁(Chin-Ching Lee)

生態中心批評 ； 環境批評 ； 異質空間 ； 霸權 ； Ecocentricism ； Environmentalism ； Heterotopias ； Hegemony

興大人文學報

49期（2012 / 09 / 01）

25 - 44

英文

當「場景」在作品分析中扮演主要的地位時，生態中心主義和環境主義的爭辯於焉開始。在莎士比亞的《暴風雨》中，島嶼這個場景，表面上協助回復文藝復興時期的尊卑秩序。然而，細讀之後，便可發現：這個島嶼場景不僅涵蓋了外力的入侵，同時也醞釀及顯現了內在雜音。此篇論文主要質疑了劇中島嶼為烏托邦式的另類存在這種思維，同時挑戰了「將文明等同於墮落」的生態中心意識形態。環境主義主張任何場景中，自然及文明是相依相存、而非相互對立的兩股勢力（Buell 2005, 68）；這個論點不僅在作品中被應證，也正好呼應了傅柯的「異質空間」理論，其中交織著各種不同但並存的關係網絡（23）。「場景」因此成為各種權力衝突的競技場。因此，在《暴風雨》中的島嶼場景裡，自然不再是渾然天成的場域，而是含雜著文化撞擊而成的人造空間。

When ”setting” is a foreground in a textual study, the controversy over deep ecology and environmentalism is launched. In Shakespeare's The Tempest, the island represents a strategic need to restore the hierarchy and order upheld at the Renaissance era. However, the island is also a place where outside exploitation intrudes and inside dissents explode. This paper intends to deny the island in the play as a utopian alternative of the corrupted world, and also to challenge the ecocentric discourses that suppress anthropocentricism and despise civilized deterioration. Environmentalist viewpoints are adopted to suggest that the place experiences ”a culturally inflected process in which nature and culture must be seen as a mutuality rather than as separable domains” (Buell 2005, 68). This argument echoes Michel Foucault's claim that ”the space in which we live is a heterogeneous space [with] a set of relations irreducible to one another” (23). The island is therefore a ”heterotopia”, in which ”several spaces, several sites that are in themselves incompatible” are juxtaposed (25). It is an arena which displays the conflicts between classes, genders, and races. Nature is thus no longer ”natural” by essence; instead, it is a ”built environment”, where nature and culture encroach upon each other.

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