The Hunger Artist: Stephen Dedalus, Food, and Creation

飢餓藝術家：史提芬‧戴德勒斯、飲食、創作

周幸君(Hsing-Chun Chou)

史提芬‧戴德勒斯 ； 《尤利西斯》 ； 飲食 ； 飢餓 ； 創造力 ； Stephen Dedalus ； Ulysses ； food ； hunger ； creativity

小說與戲劇

22卷1期（2012 / 12 / 01）

121 - 146

英文

飢餓乃是西方文化之傳統。承襲此一傳統，《尤利西斯》中的史提芬‧戴德勒斯對飲食攝取抱持疏離與負面態度，在1904年6月16日這天拒食固體食物。拒食行為固然可視為一種發聲，但同時影射與他者以及外界的隔離。拒絕飲食攝取，史提芬將食物轉化為語言，投身於藝術創作，藉此保護自我免於險惡他者的侵害，並宣示自我主體不受外界束縛，但卻因此陷入藝術超越論的神話，儘管他質疑並且挑戰這一神話。藉由呈現愛好飲食的布盧姆與莫莉以對照史提芬，喬伊斯試圖解構由來已久的飢餓傳統，將拒絕他者轉化為接觸他者，同時建構得以創新、探索、改變之雜食性主體。就此觀之，飲食扮演史提芬成為藝術家之重要關鍵。隱含生產力與創造力，飲食成就所有形式之創造活動，而拒食即代表了排拒創造力。因此，唯有史提芬由拒食者轉變為受食者方能自愛爾蘭飢餓歷史的惡夢當中醒轉，並且具備源源不絕之創造力。

Hunger has been a tradition in Western culture. Following this tradition, Stephen Dedalus in ”Ulysses” assumes a detached and negative attitude toward food intake and refuses solid foods on 16 June 1904. A form of speech notwithstanding, food denial signifies detachment from the other and the material world. Denying actual food consumption, Stephen resorts to artistic creation by transforming food into language, in an attempt to protect himself against the invasion of the threatening other and to assert an autonomous self released from constraints, but in so doing traps himself in the myth of artistic transcendence which he questions and challenges. Representing the appetitive Leopold and Molly Bloom in contrast to Stephen, James Joyce may attempt to deconstruct the long-lasting tradition of hunger, to turn rejection of the other into connection with the other, and to construct an omnivorous identity capable of innovation, exploration, and change. Food, in this respect, acts as an important key to Stephen's growth as an artist. Suggestive of fertility and creativity, food ingestion makes possible creation of all kinds, and food denial indicates the denial of creativity. Therefore, only when Stephen transforms from a food denier into a food receiver may he wake up from the nightmare of hunger in Irish history and equip himself with inexhaustible creativity.

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