跨文化的性／別政治評析：李昂的《迷園》和愛特伍的《強盜新娘》

Abstract

自從米利特（Kate Millett）的《性／別政治》（Sexual politics, 1969）揭露了文學中性／別政治的演變和佐證後，性／別政治議題就一直為女性主義批評論壇熱切地應用。從批判吳爾芙（Virginia Woolf）（1927）「雌雄同體」到洛德 （Moya Lloyd）（2005）的「超越認同政治」，焦點似乎從性／別（不平等）政治漸成帶有多元族裔政治色彩的性別（文本）政治論述。這樣的轉變在仔細閱讀來自不同文化，敏銳的女性作品中，不難辨識出。本文即嘗試從宏觀的跨文化視野，以性／別政治批評角度切入，比較李昂的《迷園》和愛特伍的（Margaret Atwood）《強盜新娘》（The Robber Bride），探索她們各自「想像」的地域政治圖繪，希望能開啟臺加跨文化論壇的對話。

Ever since Kate Millett’s Sexual Politics (1969) delved into the evolution and evidence of sexual politics in literature, the issue of sexual politics has been vigorously applied. The topic has also been incorporated into the feminist dialogues of theorists and scholars. From Virginia Woolf’s (1927) “androgynist poetics” to Moya Lloyd’ (2005) Beyond Identity Politics, the focus seems to have switched from sexual politics to multicultural politics subliminally. Such a switch is discernable by close readings of prominent female writers’ works, spanning various cultures across different periods and regions. In light of a holistic transcultural perspective, this article will explore their individual imagined geopolitical mapping of domestic variations on the sexual politics in Ang Li’s Labyrinthine Garden (1991) and Margaret Atwood’s The Robber Bride (1995) in the hope to stimulatingly further academic dialogues.