台湾后乡土文学研究

【作者】 吴鵾；

【导师】 方忠；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2014， 博士

【摘要】 步入现代社会以来，乡土文学由于其现实主义的特质和人道主义的精神成为台湾文坛用以反映现实、批判现实的审美载体，无论处于高潮或低潮，至今仍方兴未艾。20世纪70年代以后，随着岛内外政治形势剧变，台湾乡土文学通过持续论战的方式有力地反击了“现代主义”文学的排挤与打压，争取到自身的发展空间并由此成为台湾文坛的创作主潮。然而，以“高雄事件”为代表的一系列社会事件的发生打断了乡土文学原有的发展态势，致使其左翼中华民族主义的色彩逐渐弱化，“本土化”诉求不断抬头，进而出现了走向僵化的倾向。在这种历史背景下，90年代以来一批迥异于以往乡土书写的新的乡土文学在台湾文坛破茧而出，我们称之为“后乡土文学”，代表作家包括袁哲生、童伟格、许荣哲、伊格言、舞鹤、陈雪、廖鸿基、吕则之等。由于历史条件的成熟，台湾后乡土作家描绘出形形色色的后乡土景象以及乡土之上的各种文化象征空间，表现出极具魅力的个性思考与价值反思。台湾后乡土文学的出现有其复杂的时代条件，呈现出独特的美学品格，针对这些文学外部生成因素和内在发展规律的研究分析即是本论文的主要内容。第一章主要阐述了台湾后乡土文学的修补价值与发生发展。日据以来，台湾乡土文学一直以对“民族”与“民主”的诉求作为表现其现代性价值的鲜明标识，然而这种“审美现代性”与“启蒙现代性”的高度重合也为台湾乡土文学在20世纪80年代以后走向僵化埋下了隐患。后乡土文学的出现真正实现了两种现代性的分离，它以宗教书写的复归、传统精神的再现、现代性的在地化、现实批判的差异化等审美表现完成了对以往乡土文学的修补，从而具备了某种“对立和谐”的现代性品格，也使现代性与区域文化的真正融合成为可能；后乡土文学肇始于90年代，它以原有文学传统为基础，是政治变迁、经济发展、文化政策演变以及西方文艺思潮引介等各种历史要素综合作用下的文学对映物；台湾作家凌烟写于1990年的长篇小说《失声画眉》可以视为台湾后乡土文学出现的断代代表作，它表现出与以往乡土文学不同的观照视角与性别叙事，呈现出过渡性与先锋性并存的文学样貌；我们以德国哲学家恩斯特·卡西尔的文化哲学理论作为后乡土文学的哲学基础来探讨其文学文化化的趋向，而文学文化化在后乡土文学中的表现更为具象化与符号化，它所表达的意图是展示在地文化和文化中的人文景观。第二章着重分析了台湾后乡土文学主题内涵的突破创新。由于创作语境的改变，后乡土文学的主题内涵已与以往乡土文学产生较大差异，表现出更为丰富与复杂的文学维度。“鬼神”主题的出现反映出后乡土文学的“复魅”形貌，后乡土作家操纵着笔下的“鬼”与“神”，以不同的观照视角表现着台湾当下乡土中的“常”与“变”，以此反映出对原乡文化的怀念以及对乡土时空的个性化建构；“废人”主题的出现则是中国现代文学中“零余者”形象的延续与变体。相较于“零余者”的历史主义特征，“废人”无疑具有伦理主义的属性，它以人的发展与生存现状为本位，其出发点是人的活动与思维而并不是社会的发展与进步。通过“废人”书写，后乡土文学表现出对主流秩序的反抗以及对精神自由的向往；更具理性色彩的“现实批判”主题在后乡土文学中呈现出世俗化的趋势，它消解了以往乡土文学的宏大叙事，以世俗人道主义代替启蒙人道主义，在后乡土写作中主要表现为对社会边缘与乡土角落的观照与批判；原住民文学无疑应该是台湾乡土文学的重要组成部分，随着时代环境的改变，原住民文学逐渐从80年代的“抗诉阶段”过渡到90年代以后的“自塑阶段”，它们多以“山海自然”为文学主题，突出地缘性特征，表现出独特的族群文化与审美诉求。第三章重点探讨了台湾后乡土文学叙事手法的技术转型。作为后经典叙事学的一种，审美文化叙事学力图将叙事要素与外在世界相联系，以此反映出文学与文化的关系。本章中，我们将以此为理论支点，在叙述视角中研究分析“全知视角”、“选择性全知视角”、“第一人称叙述中的体验视角”以及“多重式人物有限视角”等四种叙述视角在后乡土文学中的叙事表现。它们分别对表现作者意图、呈现人物心理、把握叙事走向产生轻重不同、急缓有别的叙事作用；在叙事时空中研究分析“停顿空间”和“场景空间”在后乡土文学中所担负的叙事功能。前者多用于对乡土全貌或地域风景的静态展现，表现出后乡土文学时空特征中“具体位置的限定性”这一美学特点，而后者则主要对带有人物主观情感的时空体进行动态展示，表现出后乡土文学时空特征中“空间经验的特殊性”和“结构的同一性”等美学特点；在叙事人物中研究分析“扁平人物”和“圆形人物”在乡土文学流变中的审美表现。由于所处时代语境不同，以往乡土文学人物多以“扁平”见长，他们往往具有“呐喊”或“彷徨”的“英雄”性格，担负着推动社会发展的历史重任。而在后乡土文学作品中，乡土人物由“扁”入“圆”，他们已然卸下了思想与教化的沉重包袱，成为作者笔下表现多元乡土文化的审美符号。第四章主要考察了台湾后乡土文学艺术风格的模式转换。后乡土文学艺术风格的转变来源于时代条件的改变以及作家个性的彰显，表现出迥异于以往乡土文学的鲜明特征。微观视域的认同得益于西方微观政治学理论的引进，它多关注边缘与差异、微观与个体，认为历时的真实与现时的真相就隐藏在这些领域之中。在后乡土文学中它具体表现在现实批判的差异化与世俗化、新历史主义文学观的显现以及“性”书写的表现等三个方面；在地感的凸显是后乡土文学的又一艺术特征，主要指对一个地理空间的经验与情感，主体通过对累积在内心深处的印象混合体建构出符合主观意识期盼的在地形象，而印象混合物则包含了特殊地域的社会风貌、历史文化以及人文精神。与此同时，在地感将土地与文学的关系由以往的“忽视而捆绑”改变为“重视而松绑”，由此表现出极具个性化与差异化的地域风采；乌托邦想象与荒诞化书写则是后乡土文学在乡土写实基础上进行不同审美尝试的具体表现，从看似相反的两个维度反映出后乡土文学的多元艺术风格，既有类似浪漫主义的鼓舞与期待，也有类似现实主义的严肃与认真，这无疑是对后乡土文学丰富艺术内涵的最好注解。第五章着重分析了台湾后乡土文学语言策略的独特呈现。战后统治集团对国语的强制推行使之具备了压迫性与革命性共存的文化特征。90年代以后，面对“台语文学”的叫嚣，后乡土文学继续以国语书写为主要手段，这种语言策略的选择一方面是为了会意的准确和交流的方便，另一方面则表现出现实关怀的审美思考以及“去中心化”的文学态度；后乡土文学中经常出现白话、文言、国语、台语、日语、英语等混用的情况，这里的语码混用与“文学台独”所鼓吹的台语话文文学、台湾文学的多语言性有着本质区别，使用这种语言策略的目的是为了破除对语言符号能穷尽事物真相的盲信，表达出对“中心话语”的反思与反抗以及对历史真实的思考；原住民文学中同样存在语码混用现象，多表现为罗马字符和汉语的混用，原住民作家希望以此彰显出传承族群传统、构建族群文化的审美意图，而这种意图则主要表现在对族群部落中生活习俗、神话传说以及祭祀典礼等内容的搜集整理与创作加工。结语部分主要讨论了台湾后乡土文学的存在问题与发展趋势。后乡土文学在发展中存在着诸如对先锋性创作实验的过分推崇、批判现实等方面有所蜕变与弱化等缺点，这是需要其警惕与纠正的。与此同时，后乡土文学还具有审丑与审美并存、文学维度的整体性表现等值得肯定的发展趋势，这是需要其保留与发扬的。更多还原

【Abstract】 Since modern times, nativist literature has been the aesthetic carrier for the reflection andcriticism of reality in Taiwanese literature due to its realistic characteristics and humanitarianism.It is still in the ascendant even though it has been through highs and lows. After the nineteenseventies, with the dramatic changes in politics both home and abroad, Taiwanese nativistliterature fought back the slander and suppression from “modernist” literature and gained its ownroom for development, and thus became the mainstream in Taiwanese literature. However, theKaohsiung Incident and a series of other social events interrupted the original trends of nativistliterature by weakening the left-wing movement in it while the call for “Nativism” began to gainground, and thus nativist literature appeared to move towards rigidity. Under this historicalcircumstances in Taiwanese literature emerged a number of writers who wrote with totally newnativist approaches, which is called “Post-nativist literature”; among these writers were YanChe-sheng, T’ung Wei-ko, Hsü Jung-che, Egoyan Zheng, Wu Heh, Chen Hsüeh, Liao Hung-chi,Lü Tse-chih, etc. As the conditions have been ripe, Taiwanese post-nativist writers depictednumerous types of post-nativist scenes and cultural symbolic space beyond the nativistdimension, showing extraordinary thinking and reflections upon values. Taiwanese post-nativistliterature emerged due to complicated historical conditions, and presented unique aestheticcharacters. The thesis is mainly focused on the exterior factors of its formation and the interiorrules of its development.Chapter1mainly charts the reparatory value, the forming and the development ofTaiwanese post-nativist literature. Since Japanese occupation, Taiwanese nativist literature hastaken Nationalism and Democracy as its outstanding identity for expressing its modern values.However, the high coincidence of its aesthetic and enlightenment modernity leaves the potentialthat Taiwanese nativist literature goes towards rigidity in the nineteen eighties. Post-nativistliterature truly realizes the separation of the two kinds of modernity, repairs the previous nativistliterature with aesthetic expressions such as the regression of religious writing, the resurgence oftraditional spirits, the localization of modernity and the differentiation of reality criticism and itacquires a certain kind of modern character–harmonious conflicts; post-nativist literatureoriginated in the nineteen nineties based on original literary traditions, and was formed asreflections in literature under the combined influence of changes and development in politics,economy and cultural policies as well as the introduction of Western ideological trends in art and literature. The Silent Thrush(1990), a novel written by Ling-yen, a Taiwanese novelist, can beseen as the period-defining piece of Taiwanese post-nativist literature for its point of view andgender narrative different from those of previous nativist literature. We probe into the tendencyof culturalization of post-nativist literature, taking the philosophy of culture by Ernst Cassirer asits philosophical basis, while the culturalization of literature is more concrete and symbolic, andits purpose is to represent the local culture and the cultural human landscape.Chapter2mainly analyses the innovation of Taiwanese post-nativist literature. Due to thechange of context, the theme of post-nativist literature has differed greatly from previous nativistliterature, representing a richer and more complex literary dimension. The theme of “ghosts”reflects the re-enchantment of post-nativist literature, which expresses its nostalgia for nativeculture and the unique construction of native space-time; the theme of “good-for-nothing” is thecontinuation and variant of the “superfluous man” in Chinese modern literature, which expressesdefiance against the dominant order and the yearning for spiritual liberty; the theme of “realitycriticism” shows the tendency of secularization in post-nativist literature: it removes thegrandiose narration in previous nativist literature and replaces enlightenment humanity withsecular humanity; the literature of indigenous peoples in Taiwan is supposed to be an importantpart of Taiwanese nativist literature, and with the theme of “natural mountain and sea”, ithighlights the geographical characteristics and expresses unique ethnic culture and aestheticrequests.Chapter3mainly discusses the narrative technical transformation of Taiwanese post-nativistliterature. As one of the post-classic narratologies, aesthetic cultural narratology seeks to linknarrative elements with the outside world so as to reflect the relationship between literature andculture. In this chapter, based on this theory, we will analyze the narrative expression ofomnipotent point of view, selective omnipotent point of view, experience of the first-personnarrative point of view and multiple person limited point of view in post-nativist literature; wewill analyze the narrative functions of “pause space” and “scene space” in post-nativist literature;we will analyze the aesthetic performance of the “flat character” and the “round character” in thetransformation of post-nativist literature.Chapter4surveys the mode transformation of the style of Taiwanese post-nativist literature.The style transforms due to changes of historical conditions and the expression of the writer’spersonality, representing an outstanding characteristic different from previous nativist literature.The identification in the micro field of vision is due to the introduction of Western micro politics. In post-nativist literature, it is specifically presented in the differentiation and secularization ofreality criticism, the emergence of neo-historicist view of literature and the sex narrative; thesalience of localization is another artistic feature of post-nativist literature: it transforms therelationship between the land and literature from “neglecting and bounding” to “attention andunbounding” so as to express different geographical features; Utopian imagination and absurdnarration is the representation of different aesthetic attempts by post-nativist literature based onnative realistic depicting, and it reflects diversified post-nativist artistic style from two seeminglyopposite dimensions, with encouragement and expectation like romanticism as well as solemnityand seriousness like realism, which must be the best explanation of the divers artistic content ofpost-nativist literature.Chapter5analyzes the unique strategy of Taiwanese post-nativist literary language. In theface of the clamour of “literature in Taiwanese”, post-nativist literature keeps mandarin Chineseas its language. This strategy is on one hand for the purpose of expression and communication,on the other hand for the aesthetic thinking of realistic concern and literary attitude ofdecentralization; vernacular Chinese, classical Chinese, mandarin Chinese, Taiwanese, Japaneseand English are mixed in some post-nativist literary works and this strategy of lingual mixingbreaks the fanaticism that signs of language can stand for the whole truth, expressing reflectionsupon and fight against “central discourse” as well as thoughts on historic truth; the phenomenonof lingual mixing also exists in the indigenous literature, in most cases mixing Roman charactersand Chinese characters, as the indigenous writers hope they can thus highlight their aestheticmeaning of conveying ethnic traditions and constructing ethnic culture.In Postscript part is the discussion over existing problems and developmental tendency ofTaiwanese post-nativist literature. In post-nativist literature, there are problems such as excessivepromotion of avant-garde experimental writing, degeneration and weakening in aspects of realitycriticism, etc. and these problems require attention and correction. In the meantime, theappreciation of both ugliness and beauty and the integrated expression in literary dimension aretendencies in post-nativist literature that are worth approval and require reservation and furtherdevelopment.更多还原