张贵兴《赛莲之歌》的声音、中国性与想象

Sound, Chineseness And Imagination in Chang Kuei-hsing’s “Siren Song”

Abstract

长期以来，学界围绕华语语系的“中国性”，孜孜挖掘张贵兴作品中的诗词歌 赋、历史典故，整体研究渐呈单一重复的现象。另一方面，对于《赛莲之歌》这 部早期的自传性小说，学界给予的关注甚少，也未对其中的声音作深入的探讨。 以下结合声音与中国性，进一步厘清张贵兴融贯中西的、独特的文学表现手法。 另外，本文也援引胡塞尔与德里达有关内心话语、意义“延异”的主张，试图论 证声音的不可交流性，以此对话张贵兴基于想象的创作模式的部分争议。

关键词：张贵兴，《赛莲之歌》，华语语系，中国性，声音

Scholarly discourse which focuses on the “Chineseness” within the Sinophone literature have assiduously excavated the poetry, historical allusions and classical references within Chang Kuei-hsing’s works, resulting in a growing tendency towards monotonous repetition in comprehensive studies for a considerable long period. Concurrently, the early autobiographical novel of Chang Kuei-hsing, “Siren Song” received very few academic attentions, with its sonic dimensions remaining largely unexplored. The following analysis of this paper aims in integrating the concepts of sound and “Chineseness”, seeks to clarify Chang Kuei-hsing’s unique literary expressions that synthesize Eastern and Western traditions. Furthermore, drawing upon Husserl and Derrida’s propositions concerning inner speech and the inevitable deferral of meaning, this paper also aims to demonstrate the incommunicability of voice. This framework is then applied to examine related critical comments on Chang Kuei-hsing’s imaginative creative methodology.

Keywords: Chang Kuei-hsing, Siren Song, sinophone, Chineseness, sound