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題名：論陰性：西蘇、依莉伽蕊、克莉絲蒂娃與巴赫汀的連結
作者：黃逸民 引用關係
作者(外文)：Huang I-min
校院名稱：國立臺灣大學
系所名稱：外國語文學系研究所
指導教授：張漢良　
學位類別：博士
出版日期：2000
主題關鍵詞：西蘇；依莉伽蕊；克莉絲蒂娃；巴赫汀；陰性書寫；米尼比安嘲諷；肉體超越；她／他／它者存在於其中；Cixous；Irigaray；Kristeva；Bakhtin；Feminine Writing；Menippean satire；sensible transcendental；the other within
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　　本論文主要在探討三位法國女性作家及思想家：西蘇（Cixous）、依莉伽蕊（Irigaray）、克莉絲蒂娃（Kristeva）對於“陰性”這個概念的研究。我以三個章節來作介紹：
第一章：討論西蘇所謂的“陰性書寫”（Feminine Writing）；第二章：集中於研究依莉伽蕊陰性被視為她／他者的理論，第三章：討論克莉絲蒂娃認為陰性是一個被放逐者、陌生人以及怪誕混雜的概念。
第一章，我將西蘇的“陰性書寫”，定義為一種另類的書寫，企圖要逾越男性及女性二元論的概念。因此，西蘇的書寫理論在強調性別的流動；尤其是在強調自我的崩解。西蘇的書寫理論另外一個重要的概念是，她提出了書寫女性的身體。根據我的研究，西蘇對於書寫身體的強調，應該被視為是一種策略，在探索與她／他／它者之間的新的關係，來顯示陰性這個概念的模糊化及模稜兩可。對西蘇而言，陰性這個概念可被肉體化、本質化、形體化，也可以從文化的概念來解釋性別。本論文的重要貢獻在於探索巴赫汀（Bakhtin）嘉年華會的概念與西蘇陰性書寫的連結。尤其，陰性書寫及巴赫汀定義的古希臘米尼比安嘲諷（Menippean satire）具有許多類似之處。本論文強調西蘇陰性書寫理論，幽默及反諷扮演著很重要的角色。但是，這一點經常被忽略了。因此藉由米尼比安嘲諷嘉年華論述可以對與西蘇陰性書寫理論提供另一個層面的瞭解。
第二章，依莉伽蕊在於對西方的主體侷限於男性思維的探討與批評。她的研究強調兩性差異具有不可磨滅性。因此依莉伽蕊使用笛卡爾的概念來說明她／他者是不可知的。笛卡爾認為，在第一次偶然的邂逅，所產生的一種奇異、神祕的激情，可用來說明她／他者的不可知性。依莉伽蕊並且使用雷比那（Levinas）對於倫理的重新思考，來強調她／他者的絕對差異性。本篇論文重要的貢獻，在於提出巴赫汀早期的著作，例如：Toward a Philosophy of the Act及Art and Answerability，這兩本著作可以幫助我們去理解依莉伽蕊對於她／他者的探討，並且有助於領悟依莉伽蕊企圖要建立陰性主體的努力。本章節的後半部試圖探索依莉伽蕊對於身體的研究，來說明依莉伽蕊強調女性形體化（female embodiment）的重要性，強調存在於特定時空的侷限現存知識（situated knowledge）對建立女性主體論的重要。另外，她提出肉體超越（sensible transcendental）的概念，企圖逾越心靈以及肉體的二元論，以追求由文化的觀點，來探索女性的肉體。使得肉體與超越合而為一。
第三章，將著重在討論克莉絲蒂娃“她／他／它者存在於其中”（the other within）的概念。克氏承認她的混雜概念深受巴赫汀嘉年華論述之影響。因此本文主要藉由探討克氏雜質概念以及巴赫汀混雜（hybridization）小說理論的連結來說明此理論可釐清對於克氏主要文學理論（the semiotic）的誤解，並且更進一步理解克氏對詩的語言革命性的重視，理解此三位女性作家、思想家的重要貢獻乃在於探討語言與身體之重要關係。本文並且提出巴氏怪誕身體，與克氏污穢概念以及德勒茲（Deleuze）無器官身體的連接，可以作為一種思維的架構，在文學閱讀上提出一層反思的空間。
In my project, I will focus on the debate and controversy of the notion of "the feminine" explored and pursued by Hélène Cixous, Luce Irigaray, and Julia Kristeva. My dissertation will be mainly divided into three chapters: 1) to deal with Cixous'' "feminine writing" 2) to concentrate on Irigaray''s concept of the feminine as the other; 3) to discuss Kristeva''s notion of "the other within" in terms of seeing the feminine as the exile, the stranger and the grotesque.
In the first chapter, I will define Cixous'' ecriture feminine as "an/other writing." I will argue that Cixous'' attempt to exceed the binary opposition between the masculine and the feminine is the main concern of her writing project. Not only fluid sexuality is highlighted, but the process of "de-selfing" is also stressed by Cixous'' description of feminine writing. Another important aspect of Cixous'' writing is her suggestion and call for writing the female body. In my reading, I will suggest that Cixous'' emphasis upon writing the body should be seen as a strategy to explore new relations to the other in order to indicate the ambiguity of the feminine--both the embodiment of the feminine and cultural interpretation of anatomical sex. Moreover, I will use Bakhtin''s body politic demonstrated in the carnivalesque discourse to show affinities with Cixous'' stress on writing the body in terms of advocating ambiguity and ambivalence. A major contribution of my project is the attempt to explore affinities and links between Cixous'' feminine writing and the Menippean satire defined by Bakhtin. I want to stress that humor and irony also play an important role in Cixous'' writing, a point which, to my knowledge, has been left neglected. I hope that such a link and the notion of Menippean satire can provide another perspective to understand Cixous'' theory of feminine writing.
In the second chapter, I will discuss Irigaray''s major argument of investigating and criticizing the enclosure of the Western subject in the sameness. Committed to the notion of the fundamental, irreducible differences between sexes, Irigaray wants to stress the irreducibility of the other as the keynote to her theories of the feminine. She uses Descartes'' notion of the first passion--wonder--in the first chance encounter to illustrate her concept of the "unknowable other." She also resorts to Levinas'' rethinking of the other to reread the history of philosophy as a history that has excluded women as the other. Irigaray agrees with Levinas'' rethinking of the ethics in terms of the face-to-face encounter to explain the other''s radical otherness. Moreover, I want to propose that Bakhtin''s earlier works, such as Toward a Philosophy of the Act, and Art and Answerability, which are concerned with the problem of human subjectivity, the relation of self/other, and the conception of the dialogic, can contribute to illuminating Irigaray''s theories of the other and her attempt to pursue a feminine subjectivity. In the latter part of this chapter, I intend to explore Irigaray''s body politic to examine Irigaray''s belief in the female embodiment of the question of sexual difference. Irigaray suggests the notion of "sensible transcendental" to transgress mind/body dualism, attempting to pursue a full cultural recognition of the body to bring about the incorporation of the corporeality into sublimation.
In the third chapter, I will focus on the discussion of Kristeva''s notion of "the other within." Interesting parallels can be drawn between Kristeva''s notion of "radical strangeness" and Bakhtin''s "hybridization" of the novelistic discourse. I will argue that the notion of "the other within" can be applied to reading and interpreting her controversial notion of the "semiotic" and the "symbolic." The concept of heterogeneity and excess should be employed to read the semiotic. I will offer a critique of Butler''s reading of the semiotic. In the latter part of this chapter, the connection between Bakhtin''s body politic, his concept of the grotesque body and Kristeva''s concept of rejection and abjection will be explored. I suggest that Bakhtin''s notion of the grosteque body shares affinities with Deleuze''s “body without organs.”
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