「無聲」與「非運動性」的漫畫文本中，實質上充滿了擬聲字、情感圖示、與並列式蒙太奇 (有別於電影中存有時間差的連動蒙太奇) 之類的聲像轉碼。此一獨特的媒介現象，並非只是視覺或文字符碼「代替」填補聲音與運動之不在場的一種轉喻(metonymy)，根本上實為根莖式共時情感之拉扯爆發的運作。 我們應當將漫畫中的超視覺圖構 (supra-visual mapping) 視為共感官間連動的非線性褶皺，而漫畫中的腐女想像縫合，則進一步像音樂運動中的間奏一般，將慾望摺疊於一個持續生長且不斷溢出的疆界的中介地帶。「交響」（συμφωνία, “symphony”)的字源的與歷史意涵，指涉不提不過器樂聲部間對位的一種混交行進中的和諧，以及聲音與感官間的「異質共生/聲」的調律。
本文探究的重點在於，在聲音與音樂為主要題材的漫畫本文中，感官夾雜的、多義符號的互相牽動，如何體現某種德勒茲式的情感轉碼(affective transcoding)與變形，以及BL同性慾投射與音樂流動如何促成情感疊韻(affective refrain)的再疆域化。如同挑釁制定性規範的異端，交響的腐人之夢提供重新想像組構內在經驗、不斷越界的巴塔耶式戀人社群(community of lovers)的可能性。巴塔耶的戀人共同體概念，事實上取決於一個不穩定、不完整的決裂上：機遇與缺乏。「愛」與親密，不管是在「交響」或情慾的運動上，在戀人的互解疆域之間，都反諷地指向共同體的「形式散失」(formlessness)，以及臣服於欲望流動（指向與對象上）的隨機不定。 “Silent”and non-animated comics text is immanently imbued with acoustic-visual transcoding such as onomatopoeia, signs and juxtapositional montage (as opposed to the sequential montage in film)The transmigratory potentials of such medium should not be regarded merely as metonymy of how sound and movement can be (re-)constituted by visual and textual codes. In fact, comics is essentially an operative body of rhizomatic affective inpolsion. We should see the supra-visual mapping in comics as the non-linear folding of intra-sensory movements. Furthermore, like Deleizian intermezzo, the fujoshi imaginary and its act of closure enfold/unfold desires in constantly contraction and de-territorializing milieus. Etymologically and historically speaking, the term “symphony”(συμφωνία)denotes negotiated “harmony” of progressional interlacing voices, dialogic registers and instrumental colors as well as temperamental tuning of symbiotic heterogeneities.
This essay focalizes on how music-themed comics' inter-working of xonsonating senses and multivalent signs may lead to Deleuzian affective transocoding as well as how such comics' homoeritic rhetoric may trigger further reterritorialization of affective refrains. Challenging the normatice affective codes, “symphonic” BL (Boys' Love) imaginary triggers reconstitution of inner experience and incessantly taps into possibilities of Bataillian “community of lovers.” In facts, the very concept of loves hinges on the logic of community's inherent rupture, its incompleteness and instability, chance and breakage. “Love” and intimacy in these comics,either in fujoshi's erotic symphonization or the mutually de-territorializing lovers, ironically point to the “formlessness” of communities and subjects' submission to the becoming-chance of desire flows.
關聯:
文山評論：文學與文化The Wenshan Review of Literature and Culture 6(2)，頁135-158
