A Study of Eileen Chang's “Lust, Caution”--Mentioning also the Relevant Historical Records and Ang Lee's Screen Version of the Story
|關鍵字:||張愛玲;李安;汪政權;特工;虐戀;Eileen Chang;Ang Lee;Wang's puppet regime;Secret agent;Sadomasochism||公開日期:||十一月-2007||期刊:||人文藝術||期:||4||頁數:||041-076||摘要:||一九七七年，張愛玲發表〈色，戒〉短篇小說之後，盛傳可能與抗戰時期(1937-1945)在南京的汪偽政權或在上海的特工總部之歷史有關，一是他自己與王精衛政權宣傳部副部長胡蘭成的短暫婚戀，一是上海的國民黨中統女特務鄭蘋如色誘汪政權特工組織主任丁默?，使其陷入暗殺之阱，但因丁警覺逃走，鄭反被丁殺害的故事。〈色，戒〉故事到底有無實據？如果有歷史關連，呈現什麼程度？來源為何？又張愛玲為何要駁斥與鄭丁故事的關係？相關記載之間有何不同？這些問題在本文第一節「小說與歷史」中有所詩論。張愛玲到底希望讀者如何理解她的苦心孤詣？〈色，戒〉與張之前的小說在表現上有何不同？若干評論文章是否能夠切中〈色，戒〉的微言大意，掌握張愛玲的創作手法，本文第二節「小說與評論」將仔細探析這些議題。二○○七年，李安將改編之後的〈色，戒〉搬上銀幕，想在〈色，戒〉的言外之意裡尋找具體的影像，加入自己對四○年代香港、上海的歷史想像與政治質疑，更重要的是在角色的描寫上，往更溫柔敦厚與更離經叛道的兩極化來展示，或者說在敘事手法上更浪漫，同時也更世故，這是對小說加以錘鍊、延展，也可以說是截然不同的再創作之結果。此為第三節「小說與電影」欲討論之內容大概。
Eileen Chang published “Lust, Caution” in 1977. It’s widely rumored that the story has something to do with Chingwei Wang’s puppet regime in Nanking and its Headquaters of the secret agents in Shanghai during the war of Resistance Against Japan (1937-1945). One clue is her short marriage with Lancheng Hu, deputy minister of Ministry of Propaganda in Wang’s regime. The other is KMT’s female secret agent Pingru Cheng’s story. She failed to assassinate Muotsun Ting, the head of Wang’s intelligence agency, and was killed by Ting instead. Does the story of “Lust, Caution” have any substantial evidence? What is the source of the story? Why should Eileen Chang make a refutation? What’s the difference among those documents? These questions are discussed in the first section of this paper—“the story and the history”. How should Chang ask of her readers? Do they really understand her painstaking efforts? Does Chang use any special technique of expression in “Lust, Caution”? Do the commentators hit the key points? Do they really understand her sublime words with profound meaning? These questions are deeply discussed in the second section “ the story and the comment”. In 2007, Ang Lee adapted the story for performance on the screen. He tries to read between the lines and seek some specific images from the story. He tries to put in his imagination of the Hong Kong and Shanghai in the 1940’s. He tries to present the polarity of human nature in the film. And those are the contents of the third section of this paper— “the story and the movie”.
在 IR 系統中的文件，除了特別指名其著作權條款之外，均受到著作權保護，並且保留所有的權利。