| 摘要: | 「苦難」是中國這塊土地常見的書寫，也是新文學誕生以來一個具有歷史傳統的議題。尤其，發生在底層人物的鄉土文學中，物質的困窘與生命的脆弱，經常成為作家敘事的題材。六、七十年代的台灣作家黃春明，以其獨特鮮明的文字開創了樸實的鄉土書寫，筆下人物所遭受的苦難雖是時代轉型下的產物，但不失人性光輝與道德，表現了他對土地家園的熱愛。黃春明向來悲憫社會底層的小人物，寫他們在現實人生中的奮鬥與掙扎，雖然寫作曾中斷了好長一段時間，但到了八、九十年代，黃春明又回到蘭陽平原，關切被都市文明侵襲的農村，並以神秘且充滿智慧的鄉野經驗，帶領讀者探尋生存的苦難議題。此時，對岸的豐產作家閻連科，正以現代主義的方式重新詮釋新鄉土文學的書寫，他擅長將疾病和生存苦難結合，並以死亡作為最後的解脫，預示了命運是不可扭轉的天意。讀過閻連科文章的人，想必都很難擺脫惡夢般的生存場景，因為，作家對中國大陸農村的苦難環境作了最如實、逼真的描寫，驚心動魄的文字與細節猶如一曲哀傷的生命輓歌，為讀者展示了底層人物卑微的境遇。 本論文以兩岸鄉土文學為軸線，關注不同地域下的底層苦難書寫，以負有盛名的作家黃春明與閻連科為例，對小說文本的地域、人物、事件與文字等主題，進行敘事策略的觀察與比較，期以完整呈現兩岸鄉土苦難作品的特色與發展。始自五四以來，文學介入現實生活與公共事務已是普遍現象，當文學足以承擔反映社會生活的重責時，兩岸作家紛紛將視點下移，意識到孱弱的筆雖不能解決底層人物的生存困境，卻能觸動讀者的人文情懷與道德倫理。尤其，在商業取向的消費型態中，兩位作家都有直面現實的勇氣，極力為靜默的群眾發聲。在不同時代、地域、文化的環境下，面對相同的鄉土苦難書寫，兩人所秉持的敘事策略與社會關懷有什麼迥異及特別之處，是本論文亟欲釐清與探討的課題。 “Misery” was the description that was often used to reflect Taiwan and Mainland China. It has been a traditional topic as well since the new literature was born. Especially for the Subaltern in the country literature, the poverty of materials and the fragility of life were often the strategies for writers to describe stories. Huang Chun-ming, a Taiwanese writer in his 1960s to 1970s, created plain country writing in distinctive and vivid diction. Albeit the miseries that the characters suffered in his novels were the products of the turn of different times, humanity and morality could always be seen. Huang’s works presented his passion for the country. Huang always sympathized the Subaltern, so he often described the characters’ struggle in real life. Although he stopped writing for a period of time. Until 1980s to 1990s, Huang returned to the Lanyang Plain. He concerned the countryside invaded by the urban civilization, and he led readers to explore the issue of existential miseries in rural experience that was mysterious and full of death. Simultaneously, Yan Lian-ke, a productive writer in Mainland China, was reinterpreting the writing of the new country literature in modernism way. Yan was good at combining disease with existential miseries, which led to the final release of death, as well as the foreshadow that it was impossible to change the fate. For those who had read Yan’s literary works, it was really hard to get out of the existential scenes like nightmares because Yan described the Chinese rural miserable circumstances truly and clearly. Yan’s thrilling wording and details were like mournful elegiac verses, which presented the humble situations of the Subaltern. This thesis is based on the country literature, aiming at misery writing for the Subaltern in different areas, exemplifying two renowned writers, Huang Chun-ming and Yan Lian-ke. As for the areas, characters, and events of the texts in their novels, the thesis makes an observation and comparison in a narrative way to completely present the distinguishing features and development between the country misery works in Taiwan and those in Mainland China. It is common that literature has been involved in real life and public affairs since the May 4th Movement of 1919. When literature could afford the responsibility to reflect social life, the writers in both Taiwan and Mainland China paid more attention to the bottom of the society. They knew that they could not use their pens to solve the problems of the Subaltern; however, they could touch the readers’ humanities and moralities. Especially in such a commercialized pattern of consumption, these two writers had the courage to face the reality directly and tried their best to speak for the public in silence. Under different temporal, spatial, and cultural circumstances, as well as facing the same country misery writing, this thesis is to discriminate the differences and specialties of these two writers’ narrative ways and social concern. |
