荻安．阿勃斯（Diane Arbus, 1923—71）是美國1960年代最具代表性的攝影家之一，本論文聚焦於她拍攝唐氏症女人萬聖節的《無題》（1969—71）系列，奠基於對她作品的視覺分析、文獻探討、與歷史研究，開拓性地援引同時期的社會史、人類學、與後結構女性主義理論，來詮釋《無題》系列所展現對異常身體認識論的關鍵性轉變。筆者認為，阿勃斯在1960 年代拍攝畸形人物的作品，展現了現代性對異常身體的態度：在現代性的歷程當中，古代被認為充滿神奇力量的異常身體，逐漸被醫療、演秀與攝影病態化。相反地，阿勃斯在拍攝《無題》系列之時，正是美國的社會與文化蛻變成後現代性的歷史時刻，在這個各種邊緣再現與論述風起雲湧的時期，她受到當時社會與文化變革的衝擊與感召，脫離了1960 年代以攝影馴服異類的感性，展現了與現代性背道而馳的視象：一方面敏銳地營造了一個過渡（liminal）、失焦的嘉年華會，唐氏症女人得以藉面具、扮裝、遊戲與儀式，暫時從將她們病態化的世界中解放，展現了令人驚異的奇幻面貌，創造了使異常身體魅力重生的烏托邦式世界。另一方面在拍攝唐氏症女人的萬聖節群像之時，展現了這個邊緣社群的神祕儀式與魔法經驗，這種交融、共享的群聚儀式，使得她們逾越理性的父權社會的控制與歧視，進入一個女性的、神話性的、有親密夥伴情誼的另類平等社會。

Diane Arbus (1923-71) is one of the most prominent women photographers in the 1960s. This paper concentrates on her Untitled (1969-71), which depict women with Down’s syndrome celebrating Halloween. This article, based on visual, literary, and historical analyses, employs Arbus’s contemporary social history, anthropology, and poststructural theories in order to pioneeringly interpret Arbus’s crucial epidemiological transition of representing extraordinary bodies from photographs in the 1960s to Untitled. The wonder of the extraordinary bodies had been exorcised by the rational and secular processes of modernity, which are characterized by “the disenchantment of the world.” My thesis is that Arbus’s photographs of freaks in the 1960s are typically the product of modernity. On the contrary, her Untitled were executed in the late 1960s, when the postmodern paradigm has emerged in society and culture. The postmodern view of “the re-enchantment of the world” has made a strong impact on her exhibition of women with Down’s syndrome in this series of photographs. On the one hand, the wonder of their extraordinary bodies have been recovered in the liminal ritual of Halloween. On the other hand, they enter into communitas, in which they share an undifferentiated, egalitarian relationship through this rite of passage.

荻安．阿勃斯; 攝影; 唐氏症女人; 萬聖節; 畸形; 返魅; 融聚

Diane Arbus; photography; women with Down’s syndrome; Halloween; freakery; re-enchantment; communitas