| 摘要: | 本文探討舞鶴在當代的重要性，舞鶴小說輻射出大量的地方意識，透過小說拆解了歷史與記憶被建構的方式，同時，透露出歷史與記憶所面臨的危機。文本裡運用了大量的視覺，特別著重空間與地方，淡水、霧社、好茶…，選擇一個「地方」，更便於凸顯「他方」和「我方」，不論是地域性的、歷史性的，辯證關係是舞鶴文本思索的方式。 本文將從歷史與記憶、身體與敘事的關係展讀舞鶴，以海登．懷特（Hayden White）對敘事話語與歷史再現的論點，著手處理舞鶴文本裡歷史與虛構交錯的敘事手法，在書寫權力的場域裡，他者如何藉以發聲？並以王斑對於歷史與記憶的看法，探討舞鶴小說中的記憶，不在場的歷史與現實裡的敘述者，如何產生交會的火花？最後，本文要思索的是，做為一個閱讀者，我們如何以此為起點，進行台灣內在的探索，而在舞鶴自由的呼聲裡，何以反而襯托出如此沉重的歎息？ 舞鶴創作藝術的偏鋒，同時為台灣小說敘事史帶來重大變革，歷史與記憶在文本裡大量對話，歷史哲學的思索樣貌、地方記憶的行動能力，讓小說家往回看的同時，打開了內在探索的大門。小說家如何擺脫傳統意識形態，如何讓歷史題材突破困境，歷史話語和小說話語，在真實與虛構之間如何擺盪，舞鶴多元的敘事策略非常值得一探。 在結論部分，我們看到了書寫危機，當主流意識退場，壓抑不再，在制度混亂、人倫解構的當代，小說還能顛覆什麼？文本書寫的壓抑氛圍成為一種「過去」，那麼，不再壓抑的當代，小說家還能書寫什麼？抗議什麼？因此，社會氛圍對於文本的經典性、持續性形成了一種挑戰，異質書寫的策略恐怕還有待時間的驗證。 The purpose of this research is to discuss the position of Wu He’s novel in Taiwan’s contemporary society and literature. In Wu He’s text, the way of constructing the history and memory is deconstructed; a lot of local consciousness is disclosed; and the crises writing and memory facing is revealed. In his novel, a lot of visual effect is used, in particular on space and settings. For instance, Danshui, Wushe, and Haocha are some of his focal settings. The purpose of choosing “a setting” is to distinguish “that setting” from “this setting”. No matter it is a local or historical story, diataxis is an important way of the progress of his novels. This thesis examines Wu He’s work from the relationship between history and memory, as well as the relationship between body and narrative. The analysis of the narrativity in Wu He’s work is based on White’s arguments about narratology and historiography. How he intertwines history and fiction in the text? How he illustrates the relations among the writer, the narrator, and the readers? How other characters’ points of view are presented? By using Wang’s discussion about history and memory, this thesis also examines how Wu He uses memory in his novel, and how the narrators in the real world and those in history interact in the text. In this thesis, we will also reflect on how a reader can explore the inherence of Taiwan from his texts. Accordingly, we will understand the reason why the novelist keeps “looking back” is to “look ahead”. Wu He’s success in heterologic writing style brings an important revolution to Taiwan’s literature history in terms of narrativity: a lot of dialogues between history and memory in the text, historiography and vivid memory about places. All help the novelist to open the door of exploration while looking back. How does a novelist get rid of traditional ideology? How does a novelist properly use historical materials? How does a novelist switch between historical and novelistic languages as well as between real and fiction? Those are all the various narrative strategies used by Wu He, which are worth further discussion. In conclusion, we discuss the crisis of writing. Today, when there is no mainstream ideology or suppression; when the system is chaotic and the human relations are collapsed, what can be revolved by novel? If the atmosphere of suppression becomes a “past,” then what can novelists write about in this liberate contemporary? What do they protest for? Therefore, the social atmosphere becomes a challenge to the text in terms of classicism and continuity. The position of “heterology” might need to be tested through time. |
