臺灣博碩士論文加值系統

西元1928年，英國著名女性主義作家芙姬尼亞．吳爾芙（Virginia Woolf）出版了一部以「陰陽同體」為基調的變性想像小說，吳爾芙以其戲謔的口吻與筆調，（仿）傳記體的形式，記錄著（女）主人翁奧蘭多在歷經從文藝復興時期到二十世紀初期三百多年時空換置下變男變女，忽男忽女的種種。吳爾芙試圖由這本（仿）傳記的變性想小說揭露性別對文學、歷史、文化各層面之影響。然而，吳爾芙這部橫跨英國文學史三百多年時空的變性想像「巨」作，在傳統文學批評文獻中卻因其戲謔且帶輕鬆氣氛的筆觸，及其變男變女、忽男忽女的扮裝（masquerade）、變性戲碼，而常被（誤）讀為吳爾芙在創作《燈塔行》（To the Lighthouse）及《巨浪》（The Waves）兩巨作間次要的遊戲腳本，而吳爾芙以「作家假期」（writer's holiday）對《奧蘭多》的戲稱更被視為此種（誤）讀的背書。但是，吳爾芙的「作家假期」卻在當代女性閱讀與研究的推波助瀾之下，而變身為一則充滿顛覆男性霸權之企圖與野心的女性文本，《奧蘭多》戲謔的「仿擬」（mimicry）文體及變男變女，忽男忽女的變性與扮裝（masquerade）把戲在1990年的女性閱讀及研究中，卻被視為女性亞／次文化瓦解男性霸權的有效及重要策略。
常久以來，陽物／男性為中心的理法（phallogocentrism）建構及主導社會、文化、文學及歷史各層面。在男性霸權的宰制下，女性亞／次文化的聲音淪為男性主文化鞏固及強化自身優勢的祭品，亞當被允許擁有神所恩賜的「命名權」，而夏娃攝服於這至高無上的「命名權」，只能啞口默默地等待亞當開口為她正名，因此，在這人類史上男女第一次的邂逅，我們只聞亞當聲卻聽不到夏娃音，夏娃純粹的女性聲音慘遭消音，我們只知亞當叫夏娃「女人」（Woman）卻無從得知夏娃對此稱號的感受。然而，隨著女性自覺意識的日益高漲，女性試圖在這男性霸權文化中尋回她被剝奪的聲音，試圖由自己的雙唇重述女性的經驗及觀點，毋需男性的代理發言。然而，置身於男性霸權的體制內，女性亞／次文化與主導的男性文化霸權有著既與之「同謀」又「反抗」它的曖昧複雜關係，因此，如何讓女性純粹的聲音能在男性強勢的言說中清楚地發聲且不致於淪為男性霸權的傳聲筒，已成為當代女性閱讀與研究的重要課題，而戲謔的「仿擬」（mimicry）及「扮裝」（masquerade）便是女性亞／次文化企圖瓦解男性霸權體制的展現，女性以戲謔的手法，利用她與主導文化既「同謀」又「反抗」的曖昧關係，在言笑中從體制內去瓦解男性霸權，而吳爾芙的《奧蘭多》便是最有力的演繹。
以男性主文化為中心的價值範疇乃是由二元對立（如男／女、異性戀／同性戀等）所建構而成的，而吳爾芙則企圖以玩笑且嘲諷的「仿擬」及「扮裝」技倆去顛覆、鬆動這二元對立的價值體系。「仿擬」及「扮裝」是潛越範疇與範疇間的把戲，是跳脫男性主導文化二選一（either/or）理法有趣又有效的策略。（女）主人翁奧蘭多的變性想像、忽男忽女的扮裝及愛男愛女的曖昧性取向便瓦解了男性主文化中有關性／性別／性取向（sex/gender/sexuality）二取一（男或女）（either/or）的藩籬，奧蘭多身體的可變性，服飾上的扮裝及擺盪的性取向鬆動及顛覆了男性二元對立（男／女，同性戀／異性戀）的意識型態，揭露主導文化中男／女、陽／陰、及同性戀／異性戀二元對立的範疇乃是男性霸權運作下所強行建構的，並非本質論。奧蘭多性（別）的不可定及擺盪亦反映在其文本上，就文類而言，與其說《奧蘭多》是小說或（仿）傳記的演繹，倒不如說《奧蘭多》是文壇上的「雜種」（hybrid），它既是虛構的小說又是寫實的傳記，它既非小說亦非傳記，文體是寫實的傳記，但記載的對象卻是虛構的「陰陽同體」，吳爾芙以仿擬寫實的傳記記述虛構人物便是對父權中真實／虛構二元對立的質疑。此外，文體中的兩重述敘言說（Double discourse）亦是文本不可定的另一展現。女作家扮裝成男傳記家，敘說著變男變女，忽男忽女的（女）主人翁的種種，真叫人摸不清到底是女作家或是男傳記家在向我們敘說女主人翁或男主人翁的種種。
俄羅斯理論家米哈巴爾．巴赫京在她拉伯萊研究《拉伯萊及其世界》（Rabelis and His World）中曾表示「笑」的力量是具顛覆性的，正如嘉年華會在嬉鬧中透過扮裝將舊有階級傾覆。吳爾芙便是透過此種戲謔的「仿擬」及「扮裝」頑皮地玩弄父權的二元對立意識型態於股掌中，在乍看似向父權意識型態靠攏的當下，女性的聲音透過「仿擬」及「扮裝」的把戲，潛入男性霸權的價值體系中，大肆在體制內進行革命運動，巧妙地重構女性的經驗及觀點。

The aim of this thesis is to (re)read Virginia Woolf's notorious writer's holiday, Orlando, as an (op)positional discourse to/in the (literary) his-story mandated by the oppressive phallogocentrism. And this (re)reading is realized in the (con)textualization of "mimicry and masquerade."
"Mimicry and masquerade" are playful but subversive notions of "cross identifications" that challenge the phallic integrity or wholeness circumscribed by binary oppositions. The significance of category and identity is relied upon the visible difference within a binary opposition. And this either-or demarcation is presumed to be impermeable. Ironically, "mimicry" and "masquerade," by a mocking appropriation of the patriarchal orthodoxy, playfully cross and (con)fuse the imperious frontiers of the binary logos. This (con)fusion disables the masculine privilege to be shown in the binary opposition, and exposes the arbitrariness of the phallogocentric categorization and the unsteadiness of the bipolarized identities. This disclosure provokes an internal deconstruction because it illustrates that the identities determined by phallogocentrism are actually not as consolidated and believable as they are presented. These playful but subversive notions are particularly elucidated in Orlando's sexual/textual (ex)tensions.
Who is Orlando? S/he is an imaginary hero(ine) textualized to questions the bipolar male/female, masculinity/femininity, and homosexuality/heterosexuality which are the underpinning of the oppressive phallogocentrism. "Orlando was a man till the age of thirty" (Orlando 98); however, after a seven-day trance, he wakes up to be a female without any discomposure. This cozy awakening discomforts the masculine authority. Should Orlando be categorized as a male or a female? Should Orlando identify with masculinity or femininity? With whom, or more properly said, with which sex, should Orlando fall in love? Although the English Court intends to resolve this controversy in sexuality by laws, Orlando's sexuality is still clouded by an obscurity. Orlando who is sentenced to a female is frequently mistaken as a man because of her masculine masquerade.
This textualization of Orlando's ambivalent sexuality contributes to the re-vision of the relationship between gender and writing in which women are incomparably weaker. The sex change of Orlando exposes that literary history is never sexless; in an androcentric culture history is always sexualized as his-story. Yet, this historical text is resexualized from his-story into his- and her-story through Orlando's sex change. The sex change of Orlando makes the inclusion of the silenced her-story inevitable since Orlando is the hero(ine) of this biography. This inclusion exposes the phallacy of the phallic wholeness fabricated by the masculine authority and authorship.
To sum up, Orlando is (op)positional because its textualization of sex change and masquerades deconstructs the oppressive phallogocentrism. And this textualization of Orlando's sex change in a mock-biography resexualizes the historical and literary authority and authorship. Thus, Orlando may be playful, but its laughter is subversive. Just as Woolf proposed that anger is not the only way to deconstruct phallogocentrism. Comedy can be more subversive.

Acknowledgments I
Abstract II
Abstract (Chinese) IV
1 Introduction 1
2 Con/Fusion: The (Ex)tensions of Sexual/Textual Boundaries 12
3 S/he: The Textualization of Orlando's Sexuality 36
4 W/hole: The Sexualization of Orlando 71
5 Conclusion 94
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