| 摘要: | 本論文乃探討戰後台灣小說以「將軍」作為創作主體、或內容涉及「將軍」題材與人物形象之研究。民國將軍從革命建國、北伐、對日抗戰到國共內戰，身經百戰，因此民國將軍，在每一個歷史階段，除了實際的戰場外，亦因掌握軍權而涉入政治權力背後更為詭譎複雜的立場、路線、黨派等意識型態的「戰爭」中。這些「民國將軍」，一生擺盪於建國／叛國、殺敵／通敵、戰將∕戰犯、回鄉∕遷臺之間，進而形塑成充滿矛盾、辯證的複雜形象。
因此，小說中的將軍書寫必然涉及歷史紀實與虛構敘事兩個面向，將軍既是名留青史的人物，亦是小說中的角色與題材，歷史的將軍聯結國族認同、政治威權、階級意識等議題；小說中的將軍則延展出小說家書寫主體與文學場域交錯的蛛網，越是遠離歷史紀實、越接近小說家虛構的將軍，更能呈現小說家對政治、歷史、戰爭等議題的反思。
本文擬以1949年後隨政府來臺的「民國將軍」為思考核心，考量小說家的身分背景和作品內容後，建構出「將軍書寫」的三個面向：一、以歷史為本塑造的將軍形象；二、將軍與作家個人的雙重生命書寫；三、將軍成為小說文本的象徵性符號，將軍視同為符碼。論文章節亦置於此三個範疇中。第一，將軍的戰役，探討戰場之於將軍的意義，觀察小說家以「歷史人物」、「歷史戰役」為素材塑造作品中的將軍形象；與此相關的章節是「戰後將軍書寫的開展」，所討論的小說家有司馬桑敦、王文興與柏楊。第二，針對小說家將軍書寫系列的討論，在小說家的創作脈絡中明顯具有將軍主題的系列，小說家甚至透過將軍題材而展現個人獨特的文學風格與生命隱喻，其章節包含第三章「將軍的典範──朱西甯的文學見證」、第四章「將軍的身影，白先勇筆下的最後貴族」、第五章「將軍的懺悔與救贖──李渝的女性觀點與隱喻書寫」。第三，符號化的將軍──在八○年代後，將軍成為一個存在於文本的符號，小說以將軍為喻，凸顯歷史、政治、戰爭甚至具有特定意識型態的寓意，此一階段的將軍，「不存在」於歷史，卻弔詭地因歷史而衍生，最後反過來「見證」歷史變貌，論文章節為第六章「符號化的將軍──八○年代後將軍書寫的轉變」，討論的小說家則有蘇偉貞、黃凡、張大春、林文義與郭松棻等。最後，是第七章「為民國將軍送終」，八○年代之後的「將軍書寫」幾乎都聚焦在將軍退役、老年、臨終的主題上，小說界顯然已經準備好為「民國將軍」送終，迎接下一個世代對將軍的新詮釋。
本論文有別於老兵書寫，特地探討民國將軍在小說書寫的各個階段的轉變，透過這樣的轉變可以了解歷史環境對小說或將軍題材的滲透與轉變。期許這樣的研究能讓我們更了解將軍的書寫內涵。
關鍵詞：將軍書寫、民國將軍、司馬桑敦、王文興、柏楊、朱西甯、白先勇、李渝、張大春、郭松棻
This thesis seeks to address the post-World-War-II Taiwanese novels that deal wholly or partly with the issue of generals. In fact, the arena of the ROC generals is not merely a real field, and the nature of the war they take part in is not only military but political and ideological. The ROC generals figured significantly in each historic battle of the country--the Nationalist state-founding revolution, the Northern Expedin, the war against Japan, and the Nationalist-Communist Civil War. Inevitably, these seasoned, powerful generals stepped beyond a practical battleground into a subtler combat zone in which a war of divergent political positions, partisanships, and ideologies is waged. Throughout their lifetime these generals oscillated endlessly between allegiance and treason, resistance and surrender, or/and Taiwan and Mainland China. They hence established themselves as an image shot through with conflicts and contradictions.
Furthermore, general writing in novels embodies the elements of both historical realism and fictional narrative. In other words, the generals depicted are paradoxically historical, crucial figures and fictional characters. Such generals on the one hand indicate issues of national identity, power rivalry and class consciousness but, on the other hand, function as an extension and hallmark of a novelist's literary imagination and creativity. It may therefore be argued that the farther away from historical realism and closer to fiction these generals are, the more clearly they mirror the novelist's reflection on ROC's practical politics, history, and wars.
The ROC generals on whom this thesis focuses are those officers who came to Taiwan with the Nationalist government after 1949. On the basis of the novelists' backgrounds and the subject matter of their works, general writing can be structured into three categories: (1) historically based generals
(2) generals whose stories are interwoven with the novelist's life
(3) the figural, purely textual generals. In the first category, the generals are imaged with the historical personalities and the plots are appropriated from real events. The corresponding chapter of the treatment is "The Inception of the Postwar General Writing," and the novelists to be discussed include Si-ma Sang-dun, Wang Wen-hsing, and Bo Yang. In the second category, novelists go even so far as to hide beneath the appearance of the "general topic" their distinctive literary styles and biographical reality. Relevant chapters are the third--"A Paragon of the General: Zhu Hsi-ning's Witness of Literature," the fourth--"A General's Silhouette Figure: The Last Nobles in Bai Hsien-yung's Writing," and the fifth--"A General's Confession and Redemption: Lee Yu's Feminist Perspective and Metaphorical Writing." In the third category, the general is like a sign. This transition happens after the 1980s. Novels began to regard the general as an allegory of history, politics, war, and ideology. Generals as such do not exist in history but, ironically, come from, and eventually turn back to witness, history. The chapter of this concern is the sixth--"The Textualized General: A Transition of the General Writing after the 1980s." Among the novelists of the category are Su Wei-zhen, Huang Fan, Chang Da-chun, Lin Wen-yi, and Kuo Sung-fen. The seventh, concluding chapter is "Sounding the Knell of the ROC General." General writing after the 1980s focuses almost entirely on the retirement, old age, and deathbed of generals. It seems that the novelist community is well prepared to ring out the old mode of general writing and ring in the new one.
Finally, it should be noted that this thesis is not a research on the veteran writing. Rather, it revolves primarily around the evolution of the ROC general in novel creation. Through the perception of this evolution, we may realize to what extent historical facts influence and modify the writing of novels, and in this case that of the ROC general. Hopefully, this study may help broaden our interpretive dimension of general writing.
Keywords: general writing, ROC general, Si-ma Sang-dun, Wang Wen-hsing, Bo Yang, Zhu Hsi-ning, Bai Hsien-yung, Lee Yu, Chang Da-chun, Kuo Sung-fen |
