【作者】 王勋鸿；

【导师】 黄万华；

【作者基本信息】 山东大学 ， 中国现当代文学， 2008， 博士

【摘要】 五六十年代台湾女性文学总是以“五六十年代”、“台湾”、“女性”三重边缘的符号,边缘或者消音于中国文学史的叙述和研究中。异己意识形态的台湾文学研究,在大陆以往的文学史著中几为空白,上世纪八十年代随着“重写文学史”口号的提出,台湾文学作为中国文学不可分割的一部分被纳入文学史的撰述成为共识并已付诸于实践,但遗憾的是,新的文学史中还是多以单章另列的方式将其放逐于大陆中心论述的边缘。而在台湾八十年代随着岛内本土化运动的兴起,强调台湾的本土意识,以“大陆文化回顾”为主流的五六十年代文学,也被忽视或摒弃。另一方面,五六十年代,两岸又是一个意识形态高度牵制文学的特殊时期,浓烈的政治符号充斥于那时段的文学作品中,两岸的文学史家都给予五六十年代文学极低的评价,更遑论其中的处于边缘位置的台湾女性文学了。基于以上历史和现实的原因,本论文以五六十年代台湾女性作家及其作品为研究对象,通过作品的全面阅读和评析,回眸、发现和再评价该时期的女性文学,以期重构五六十年代台湾文学史或中国文学史。本论文首先从文学生产场域的各个环节分析了五六十年代台湾女性文学兴起的原因,进而分析了五六十年代台湾战后第一代女作家如何在“反共文学”浪潮中发出自己的声音。论文从以下几个方面综论了该时期女性文学的特点:一、女性与乡土:遥望大陆故乡的怀乡书写、“家台湾”的在地化书写;二、保守社会文化下,女性性别意识的塑造与呈现;三、五四文学传统的承继;四、六十年代现代派主义思潮下女作家性欲书写和留学生文学。论文除却绪论和结语外,共分为五章。第一章:男性家国时代的女性声音——五十年代文艺体制及女作家。本章第一节从文学场域的各个环节分析五十年代台湾“战斗文艺”体制形成的过程。国民党“战斗文艺”运动五十年代从出台到泛滥的过程,主要通过官方的三种文艺策略来推动。(一)实施官方奖励与“培训”,大力扶植“战斗文艺”创作(二)通过官办“民间”文艺团体,将作家纳入“战斗文艺”的组织网络之中。(三)创办文艺刊物,建立“战斗文艺”的发表阵地。由此“反共”、“战斗”文学成为五十年代台湾文坛的主流。第二节分析在“反共战斗“文艺体制下,迁台第一代女作家是怎样历经乱离的艰辛在台湾安家并执笔于文坛。本节从女作家的文学养成、国民党的国家文艺政策、主导文化、妇女政策等几个方面分析女作家在战后崛起于文坛的原因。第二章:乡关何处?——战后女作家的身份言说与建构。战后随着国民党溃败去台的第一代女作家们,从中原内地流寓到边缘海岛,迎合“大中国”正统文化,书写对故土家园的遥思和对“家台湾”的情感。她们从“权作避秦”,到“收复无望”,乃至于“终老斯乡”的辗转创作心路,使得“流离”成为五六十年代台湾文学的重要内容。她们从忆念隔岸的故乡家园,到“在地化”、“家台湾”的书写,建构着新的身份认同。六十年代迁台二代女作家,在现代主义大潮和留学大潮的推动下,以“离乡”、“异乡”的身体流亡和放逐,书写着“无根”、“离散”的悲情与痛苦。本章第一、二节以第一代迁台女作家琦君的怀乡散文和去台旅美作家聂华苓的小说为解读文本,呈现五六十女作家“乡关何处”的身份迷思。第三节以迁台女作家笔下的台湾人、事、物的在地化书写,论述她们笔下的“台湾新故乡”。第三章:性别与家国——战后女作家性别论述。五十年代女性作家及其文学总是在国族大叙述的洪涛大浪中,因其“闺秀”、阴柔的美学特点和主题的琐碎化、私情化被贬为“社会性观点稀少”的“闺秀文学”、“主妇文学”,然而实际上,这些貌似“温良”,“恭让”的女作家却是“披着丹士林的辣将”,她们的闺秀风格并不能掩盖她们作品中凸显的强烈的女性主体意识。本章第一节到第三节以林海音、聂华苓等第一代迁台女作家的作品为解析文本,透过她们笔下一个个旧时代或者新时代女性的爱情婚姻故事,揭示传统女性主体意识的觉醒和现代女性勇敢大胆的自我突围。六十年代迁台第二代作家更是接受了现代主义思潮,她们通过对性欲和乱伦禁忌题材的触及,挑战了传统伦理道德的藩篱,透过一个个惊心动魄的另类的爱情和婚姻故事,高扬了现代意识和女性意识。第四节以欧阳子的小说和郭良蕙的《心锁》为文本,呈现女性走出男权社会的束缚和禁锢,颠覆传统伦理道德体系,凸显女性性别意识,建构自我主体的过程。第四章:本章主要论述五六十女作家及其对五四文学精神的传承。两岸论者大都以国民党迁台后的禁书政策或者五四写实精神在“反共”怀乡大潮中的失落为依据认定五四传统在台的断裂。本章从迁台女作家与五四的渊源、作品中体现的“感时忧国”、“自由主义”的精神、女作家散文的艺术特色和柔美美学品格几个方面来论证五四传统在台湾非但没有失落反而得以承继。第二节以聂华苓及其主编的《自由中国》文艺栏的作品,分析自由主义传统在五十年代官方文艺的钳制下,在女作家的文本中如何呈现和言说。第三节以琦君和张秀亚的散文为例,分析五四阴柔美学传统在战后台湾女性散文中的承继。第五章:从文学理论的移植到身体的位移。六十年代现代主义文学和留学生文学以鲜明的时代特色和美学特质为战后台湾文学书写了璀璨的一页,甚至在中国文学的长河中留下了经典性作品,其中女作家在此中作出了重要贡献。本章第一节从现代主义与自由主义和美援文化的关系二个方面分析现代主义大潮在台湾五六十年代二度兴起的原因。第二节以《现代文学》及其重要作家欧阳子为例分析以心理剖析为艺术特色的现代派文学与此时期女性文学的关系。第三节,分析六十年代留学生文学兴起的原因和背景及其与此时期女作家的关系。六十年代留学生文学作家大都经历过从大陆到台湾、从台湾再到美国的人生流寓过程,无论是被动的流亡还是主动的放逐,二次漂泊的命运和中西方文化冲突,使身处此中的女作家创作具有丰富的主题内涵和艺术张力,既有乡愁的痛苦,又有羁旅异乡失却梦想的悲哀,还有“留”或“不留”的焦虑。本节以留学生文学的典型作家於梨华和吉铮及其小说为例,分析六十年代留学生文学的特色,诠释海外浪子在失乡路和爱情路上的苦闷、痛苦和彷徨。总之,本论文正是透过五六十年代女性作家作品的解读和分析,从多个主题、多个视角把握该时期女性创作风貌和文学形态,以期重新评价以往文学史中被放逐或被误读的女性作家作品。本论文在写作过程中,坚持客观严谨的学术态度,尽可能占有大量翔实的资料和史料,力图借此论文,填补大陆该时期女性文学研究的空白,为中国文学史、女性文学史的书写提供可借鉴性资料。更多还原

【Abstract】 Taiwan female literature between the 1950’s and the 1960’s, marked by the labels of "the fifties and the sixties", "Taiwan" and "female", is always marginalized in narration and research of Chinese literature history. Research on the peculiar ideological literature is almost a blank page in previous mainland literature history works. In the 1980’s, with the proposal of the slogan of "Rewriting Literature History", it is again marginalized by the new literature history in the form of separate chapter. The fifties and the sixties are special periods when literature on both sides of Taiwan strait was highly pinned by ideology and packed with strong political symbols. Literature of this period is strongly disparaged by literature historians from both sides, let alone the female literature.Based on the above mentioned historical and realistic reasons, taking Taiwan women writers between the 1950’s and the 1960’s and their works as research subject, this thesis tries to discover and reevaluate female literature of this period through comprehensive interpretation and analysis and to reconstruct Taiwan female literature history.This thesis first analyses the reason for the rising of Taiwan female literature in the fifties and the sixties from all the components of literature production and then further elaborates how the first generation of postwar women writers utter their own voice in the "Anti-Communist" literature trend. Charateristics of the female literature of that period are analysed from the following aspects: 1. female and homeland: nostalgic writing of mainland homeland vs. regional writing of "Taiwan Home"; 2. molding and presentation of female gender consciousness under conservative social culture; 3. heritage of May Fourth literature tradition; 4. women writers’ sexual writing and overseas students’ literature in the modernism trend in the sixties.This thesis consists of 5 chpaters besides introduction and conclusion.Chapter One: Women’s Voice in the Male Age---Literary System of the Fifties and Women Writers. This chapter mainly hackles the general situation of Taiwan literary circle in the fifties; reveals how the first generation of women writers go through all the hardships, settle in Taiwan and enter the literary circle; analyzes the reason why they enter the literary circle and form peculiar literary group in the fifties’ male narration.Chapter Two: Where is the Homeland-Definition and Construction of Postwar Women Writers’ Identity. Coming from mainland to Taiwan island with Kuomintang, the first generation of Taiwan’s women writers caters to the traditional culture of "Great China" and expresses their misses for the remote homeland and their affection to "Taiwan Home". From "staying in Taiwan" to "settling in Taiwan", their literary creation makes "wandering" an important theme of Taiwan literature in the fifties and the sixties. From "recalling homeland" to "Taiwan Home", their writings reconstruct a new identity recognition. The second generation women writers of the sixties, promoted by the trends of modernism and studying abroad, expresses their pains of "rootless" and "wandering". Based on Qi Jun’s homesick prose and Nie Hualing’s novel, the first two sections of this chapter aim to present women writers’ identity confusion. The third section expounds the "Taiwan New Homeland" by examining women writers’ local writing of people and events in Taiwan.Chapter Three: Gender vs. Nation--Gender Narration of Postwar Women Writers. In the grand state narration, women writers and their works are denounced as "Girls’ Literature" or "Housewife Literature" for their elegant and delicate aesthetic characteristic and their trivialization and personalization of the theme. However, tender as these women writers may seem, a strong sense of female subjectivity is revealed in their works. Based on interpretation of works of Taiwan’s first generation women writers, such as Lin Haiyin and Xu Zhongpei, the first three sections in this chapter reveal the wakening of female subjectivity of tradtional women and the courageous self-breakthrough of modern women through their love and marriage stories. In the sixties, the second generation women writers of Taiwan accepts the modernism thought trend. Their writings of themes as sex and incest challenges the traditional ethics and stresses modern and female consciousness. In this chapter, Ouyang Zi’s novel and Guo Lianghui’s "Heart Lock" are examined to reveal the process of women breaking the fetters of patriachal society, subverting tradtional ethical system, publicizing female gender conscious and reconstructing their own subjectivity.Chapter Four is mainly devoted to elaborate Taiwan women writers’ inheritance to the spirit of May Fourth literature. In this chapter, the follwing aspects are examined to reveal Taiwan women writers’ inheritance of May Fourth spirit, including their expression of "worrying about the fate of the nation" and of "liberalism", their artistic feature and the aesthetic quality. Based on Nie Hualing and Free China she edits, the second section analyses how the liberal tradition is presented and expounded in women writers’ texts under the oppression of official literature. Section three illustrates the inheritance of delicate aesthetic tradition in women writers’ works in postwar period by analyzing Qijun and Zhang Xiuya’s prose writings.Chapter Five: From Literary Theory Transplantation to Physical Displacement. In the sixties, modernist literature and overseas students’ literature, featured by their distinctive charateristics of times and aesthetic quality, constitute a glorious page in Taiwan’s postwar literature and leave in Chinese literarture history many classical works, to which women writers make great contributions. The first section analyses the reason why modernist thought trend arises again in the fifties and the sixties by examining its relationships with liberalism and American Aid culture. Section two takes "Modern Literature" and a writer Ouyang Zi as example, analyses relationship between female literature of this period and the modernist literature featured by psychoanalysis. Section three is to analyse the reason and the background of the emergence of overseas students’ literature as well as its relationship with female literature. Most of writers of sixties overseas students’ literature have the experience of wandering from mainland to Taiwan, from Taiwan to America. Whether it is passive exile or active banishment, the destiny of wandering again and the clash between eastern and western cultures provide these women writers with various themes: the pain of homesick, the sadness of living elsewhere, the identity anxiety of "staying" or "leaving". Based on the analysis of the works of Yu Lihua and Ji Zhen, this section explores the characteristics of overseas students’ literature in the sixties and interprete the travellers’ depress, pain and sense of loss on their road of wandering and searching for love.In one word, by interpreting and analysing female writers’ works in the fifties and sixties, this thesis aims to grasp the style and literary feature of women writers’ creation and reevaluate women writers’ works which have long been neglected or misunderstood. In the process of writing this thesis, the author sticks on objective and precise academic attitude, accumulates large amount of research material and history data. This thesis fills in a gap in the mainland female literature research and prepares ground for the construction of Taiwan literary history and Chinese female literature.更多还原