【作者】 赖一郎；

【导师】 袁勇麟；

【作者基本信息】 福建师范大学 ， 中国现当代文学， 2013， 博士

【摘要】 钟肇政是台湾史诗建构开创者,光复后客家方言写作首倡者,光复后最早进行原住民书写、也是相关著述最丰富的作家之一,乡土派代表作家。出身于底层的钟肇政,秉持底层认同,坚持客家书写、女性书写和原住民书写。光复后钟肇政第一个提出客家方言写作,实践上主要是对词语进行纯化、提炼；他以审美的眼光去看待客家民俗,把民俗与人物描写、故事情节有机结合起来；歌颂客家人的硬颈精神。钟肇政具有“双性同体”潜质,为台湾文学中女性主体意识的建构做出历史贡献。其笔下的女性主体意识1950年代处于蒙昧状态,1960年代有了萌芽,1980年代则得到张扬,并发生变异。钟肇政对原住民有深切的认同。在复杂的内在精神机制的自动调节下,钟肇政的最初原住民感性经验转换为浪漫想像,塑造了一系列富有野性的原住民女性形象和英雄形象。钟肇政早期曾为日本文化所蛊惑,把文化自卑化作一种审美趣味,化作爱情传奇。而后其小说文本中日本意识与中国意识曾产生强烈的对抗,其后似乎又出现文化杂糅的现象。《怒涛》则竭力鼓吹殖民现代化和“台独”意识形态。钟肇政是台湾史诗创作开创者。经过《浊流三部曲》的先期训练,钟肇政推出了大气磅礴的《台湾人三部曲》。这是一部典型的家族小说,作者通过家族史来表现民族精神史,以家族史诗建构民族史诗。但是有些文学史家刻意加以解构,为台独文学史张目,必须引起我们警惕。从创作手法看,钟肇政1950年代的作品采用单一视角的顺叙,后来运用了儿童视角,学会“化身”。《鲁冰花》叙述视角的自然流转,使小说如一幅由散点透视法构成的中国画长卷；1960年代钟肇政小说采用聚焦透视法,深入潜意识层以表现人物的非理性意识流；1970年代后的小说,则采用时空的重叠交错,营造唯美的意境。更多还原

【Abstract】 Zhong Zhao-zheng is the pioneer of Taiwan epic construct, initiator of the Hakka dialect writing after the retrocession, one of the earliest writers who were engaged in the aboriginal writing and who had the most abundant related writings, and native-represented writer.Born in the underclass, Zhong Zhao-zheng upheld the underclass identity and adhered to the Hakka writing, women writing and the aboriginal writing. After the retrocession, he was the first person to advocate Hakka dialect writing. What he did in practice was purifying and refining words. He looked at the Hakka customs from the aesthetic point of view, combining organically the depiction of the custom and the character and the plots in praise of their "stiff neck" spirit.Zhong Zhao-zheng has the potential of "androgyny", making a historic contribution for the construction of female consciousness in Taiwan literature. The female consciousness in his writing was in an obscured state in the1950s, began to sprout in the1960s, and got widely known and mutated in the1980s.Zhong Zhao-zheng was highly identified with the aboriginal people. In the automatic adjustment by the complex internal mental mechanisms, Zhong Zhao-zheng converted his earliest aboriginal perceptual experience into his romantic imagination and came up with a series of wild and heroic aboriginal female images.Zhong Zhao-zheng was bewitched by the Japanese culture in his early years, turning the inferiority of his own culture into an aesthetic taste and love legends. But later, Japanese and Chinese consciousness in his novels generated intense confrontations and still later there appeared a phenomenon of cultural hybridity. The Rough Sea preached the colonial modernization and "Taiwan Independence" ideology.Zhong Zhao-zheng was the pioneer of Taiwan epic creation. After completing the novel of the Roman-fleuve Trilogy, a sort of pre-training, he produced the majestic Taiwanese Trilogy, which is a typical novel of family history and through which the writer shows the history of the national spirit and by which he constructs the national epic. However, some literary historians deliberately deconstruct it to boost Taiwan independence by its literary history, to which we must be alert.From the perspective of creation approach, Zhong Zhao-zheng’s works in the1950s adopts the single perspective of typical narration and later that of children, thus learning to become "embodiment". The natural flow and change of the narrative perspective of the Wayside Flower makes the novel look like a Chinese painting scroll created by scatterplot perspective method. His novels in the1960s employ the focus perspective method to go into the subconscious layer, revealing the characters’ irrational stream of consciousness; while since the1970s, his novels have resorted to the overlapping of time and space to create artistic and beautiful conceptions.更多还原