無以名狀的噁心 - 初探殭屍文本與歐亞兩文化閱聽人的解讀差異

Abstract

歐亞大陸是一整塊完整的板塊，可是在地理學的分類上卻總是被分為，歐洲大陸與亞洲，這是由於在文化與習慣上的不同所導致的。而這些文化上的不同也導致了許多問題，尤其是在交通與通訊都高度發展的現今，地理上的限制已經不如以往的嚴峻。觀賞影視文本是閱聽人最容易對文化有了解的一種方法，藉著觀看他國的影視文本作品，認識他國的風土民情與生活情況，進而了解該國的文化與習俗。但在接收這些文本的同時，又會因為本身文化背景的差異，產生與他國不同的認識與理解。這些因為文化背景的不同，所產生的差異解讀正是本研究的核心意識。本研究希望可以比較歐洲文明與漢文化兩方的閱聽人，在面對殭屍影視文本的時候，是怎麼進行解讀的？但殭屍文本範圍太過龐雜，因此選擇了其中與文化關聯性最大的「噁心」作為分析的要點，那這兩方閱聽人在殭屍文本中的那些元素會產生噁心反應呢？而他們又是怎麼分別解讀的呢？ 本研究使用參與觀察法作為主要研究法，至歐洲進行6個月的實地走訪，針對其飲食習慣、宗教信仰、藝術美感、軍事政治、權力結構進行深入了解，並回到台灣的殯葬業進行參與訪問；再輔以訪談的方式，對7位歐洲受訪者，11位台灣受訪者進行訪談。研究結果整理出雙方閱聽人會對鮮血、內臟、屍體、吃人四種殭屍影視文本中的元素激起噁心反應，以及腐爛、虐待兒童這兩項分別是普及的與較為特定的元素產生噁心反應。發現歐洲閱聽人對於內臟及吃人的情境下產生較強烈的噁心反應；漢文化閱聽人則對鮮血及屍體有較為顯著的噁心反應。 最後研究發現的部分：一、本研究與學者費斯克對於符號與文化的看法相同，認為任何符號都是根著於文化脈絡之上的，因此在理解符號的同時會使用自身的生活經驗與文化習俗做解釋。二、閱聽人與殭屍文本之間的關係是遞減的，隨著大量接觸噁心元素的同時會降低對其文本的噁心反應，而不願接觸文本的閱聽人則可能對噁心有較為真實的反應，因此在受訪者的挑選上可能存在瑕疵。三、噁心這個元素在研究中也發現是與一般大眾存在斷裂的，噁心的定義與一般大眾的看法是無法接合的，此外發現同理心與威脅的一致性可以作為與恐懼、焦慮的反應區別。四、歐洲文明本身在宗教力量減弱之後，出現了文明與野蠻、統一與均勢的矛盾，且對於美國文化存在一種輕蔑的態度。

Eurasian Plate, as a whole continent, is always been divided into Europe and Asian continent cause of the geographic point of view, which is caused by the culture and custom differences. The culture and custom differences are big problems, especially present day with the traffic and communication technology development, when the time and space is not a boundary anymore. Viewing the film text is an easy way to understand other culture. By the help of film text we can learn how other people make their life, other custom and culture differences. When we watching the film text, we make the different interpretations due to our own culture background and social custom. The different interpretations due to culture background and social custom are the main idea of the research. When the two groups of audience, which are from Europe and Han culture, facing the zombie film text, how do they interpret the content? Zombie film is such a big issue, the research is focusing on the topic of “disgust” which is closely related to culture. So the main purpose of the research is to figure out what element in zombie film text will trigger the disgust reaction from the two groups, and how they interpret it. The research method is combined the Participant Observation and interview. The research walk into the field in Europe and conducted six months participate which observe the diet custom, religion problem, fine art, military politic, power construction. Afterward, back to Taiwan and move on to the funeral industry for the custom taboo and culture. The interviews included 7 European interviewees and 11 Taiwanese interviewees. The result concluded that both the two groups admit the reaction of disgust due to blood, guts, corpus, cannibalism. And the further analysis figures out the European interviewees feel more disgusting about guts and cannibalism. The Han culture interviewees reveal that the blood and corpus make them disgusted more. The final conclusion: I. The research take the same view of John Fiske about semiotics and meaning, considering all the symbol are rooted above the culture context. Therefore the realization and usage of the symbol will accord to the live experience and culture custom. II. The relation between audience and zombie film is decreased progressively. By the large amount of exposure to the zombie film text, audience’s disgust reaction will decrease. The one who are not willing to watch the zombie film text might contain the true disgust reaction. III. The idea of disgust is not relative to the knowledge of common audience. The research finds out the correspondence of empathy and threat might be a definition to discriminate disgust from fear and anxiety. IV. European culture is facing a contradiction about civilization and barbarian, union and division. And the European hold a disdainful attitude toward American culture.