字體：小 中 大 |
|
|
|
| 2013/07/22 11:03:43瀏覽337｜回應0｜推薦0 | |
情慾探戈
法國理論家及作家喬治‧巴代伊 (George Bataille) 是第一位以專書討論情色
的哲學家兼小說家，ㄧ生筆耕不輟，除《我的母親》、《愛華坦夫人》、《眼睛的故
事》等探討情色小說作品之外，另外也撰寫《內在經驗》、《被詛咒的共享意識》、
《情色主義》等哲學專書，後人將其作品歸類為「踰越寫作」 （transgressive
writing）及「身體寫作」（écriture corporelle）範本。巴代伊氏的思想對當代知名
作家傅柯 ( Foucault )、德希達 ( Derrida )、巴代伊特 ( Barthes )、李歐塔
(Lyotard)、布希亞 ( Baudrillard )、克莉絲蒂娃 (Kristeva) 等人影響深遠。他的作
品《情色主義》(Erotism)、《內在經驗》（Inner Experience）、《被詛咒的共享意識》
（The Accursed Share）專精於情色哲學的研究，並探究其與「踰越」、「死亡」、「幻
想」與「再現」等密不可分的關係，然而這種重返「情色」的思想脈絡，與當代
社會對於「色情」的概念相互牴觸。邁可‧李察森在其作品《喬治‧巴代伊》一
書中，指出這種在心理上「否認情色」的文化現象，無啻阻斷我們對於死亡的體
驗與對於自然的認知 (104)。巴代伊氏將情色分成「身體情色」(physical
eroticism)、「情感情色」(emotional eroticism)、「神聖情色」(sacred eroticism) 三
大類別，而這三種情色的演繹與主體與他者之間親密 (continuity) 與疏離
(discontinuity) 的關係相輔相成。「身體情色」具有「狂暴及邪惡的本質」，是一
種瀕臨死亡的經驗，使得主體遺棄自主性，而沉溺於與他者合而為一的情慾中；
「情感情色」卻是一種在合而為一之後所感受到的焦慮，這種憂心是因為主體感
受到無法延續此種融合經驗，所產生的無奈與失落的情緒；而「神聖情色」則為
一種透過踰越死亡的儀式，重新體驗融合的聖蹟 (《情色主義 19》)。爬梳巴塔
耶的情色心理學系譜，在本計畫中所做的是將分析的邏輯推到分析「身體」、「情
感」、「神聖」等三種不同論點與死亡與慾望的踰越關係。本研究關注的要點，即
是以邊緣化的「情色」欲望的理論架構來分析探戈歷史文化機制與發展過程，透
過慾望與主體對談的機制，探討探戈內在特質，並以探戈情慾為主題的二部影
片：英國女導演莎莉．波特 (Sally Potter) 的《夢幻舞神》(The Tango Lesson ) 及
西班牙導演卡洛斯‧索拉 (Carlos Saura) 的《情慾飛舞》 (Tango) 為討論之電影
文本。本專案期待能走向有系統脈絡的文化研究，也希望能夠朝著建構完整「情
色」分析系譜之目標邁進，探討主體的顛覆性，在追求極致的情色經驗中，不斷
尋找超越界限的縫隙，展現探戈情色的多層次的論述。
關鍵字: 身體情色、情感情色、神聖情色、親密、疏離、踰越、探戈
Erotic Tango
George Bataille is probably the first influential French thinker and writer to be
aware of erotic experience and its relationship with transgression in his book Erotism,
which has been defined as “Literature of Transgression” and “écriture corporelle.”
The current trend of “the denial of eroticism—which is particularly strong within our
culture—is at the same time an attempt to deny and close out death and our
connection with nature. It is true that man’s erotic impulse is hard to be restrained and
curtailed, yet it is the best path to explore the world of the unconsciousness and its
association with death. In Erotism, Bataille distinguishes physical, emotional and
sacred eroticism as to approach the meaning of death and transgression, with all these
three forms involving a breaking down of established patterns, a dissolution of the self,
a fusion of beings. Whereas physical eroticism is a corporal fusion of two individual
bodies, and emotional eroticism is a union of lovers searching for a lost intimacy,
sacred eroticism involves a key element of sacrifice and sacredness. Exploring
eroticism as an inner aspect of the human being, Bataille connects it to extreme states
of subjectivity. A conflict between discontinuity and continuity constitutes a basic
model for discussing such a rupture of desire bordering on transgression and death.
Bataille considers that a vital need for the human condition marked by eroticism is
“assenting to life even in death.” A secret path to eroticism is to search for the power
that could stare at death to grasp an incomprehensible continuity. The two tango films,
Sally Potter’s The Tango Lesson and Carlos Saura’s Tango, present the erotic desire
which is so close to the path of destruction and betrayal which turns sensual pleasure
into one of ruin and degradation that it is associated with unfettered freedom to admit
the value of otherness. Potter, Saura, and Bataille are erotic on various levels; by
contrasting and comparing these levels, the readers more easily understand the truth
of eroticism.
Keywords: physical eroticism, emotional eroticism,sacred eroticism, continuity,
discontinuity,transgression,tango
|
|
| ( 知識學習｜語言 ) |
