台灣「80後」小說初探－以黃崇凱、神小風、朱宥勳的小說為觀察文本

本論文以台灣三位「80後」世代的小說家─黃崇凱（1981－）、神小風（1984－）及朱宥勳（1988－）已出版小說為主要觀察文本，並藉由對三人的小說觀察，瞭解台灣「80後」世代的小說共相所在。以筆者的觀察，「80後」世代的小說是接續八○年代以來後現代小說的脈絡，而取消了邊緣族群小敘事向官方大敘事的挑戰，從情感層面出發，以更為私我的、破碎的小敘事來反映所身處的時代環境。且三人的小說中，展現了對當代人的心靈圖景的相同描繪─「寂寞」、「消失」與「崩壞」，三個關鍵詞表現出被都市文明、商業文化、網路虛擬影響而產生的感覺結構的轉變。相對地，在小說創作時，三人也不約而同地以「說謊」為主要創作理念，在小說中令作者、敘事者、或小說人物得以「為虛構而虛構」，並期待已消失的事物、已毀損的情感得以「重來」，以小說的書寫來抗衡都市文明對人性的侵擾。但以小說為心靈慰藉僅是一種對世界的「輕盈」的反抗姿態，或更接近於一種「適應」世界的方法。最後，筆者整理三人的小說對後現代小說的承繼與轉變，不論在打破雅俗的界線上，或是以形式技巧展現後現代思潮的核心價值上，三人皆有著創新的嘗試與亮麗的成績，三人後續的創作表現也更值得期待與關注。

關鍵字

黃崇凱；神小風；朱宥勳；「80 後」

並列摘要

This thesis observes the published novels written by three authors born in the 80s in Taiwan, i.e. Huang Chong-kai (1981-), Shen Xiao-feng (1984-), and Zhu You-Xun (1988-) in order to find out the commonalities in texts written by Taiwanese authors born in the 80s.The current paper argues that novels written by authors born in the 80s, following the context of postmodern novels since the 80s, are no longer narratives that describe the challenge posed by marginal group toward the official grand, as they begin with emotions, and use more private and fragmented narrations to reflect the temporal environment in which the novelists situate. The three authors' novels express the same depiction for contemporary spiritual scenery, with three keywords of ”loneliness,” ”disappearance” and ”collapse” to reveal the transition of emotional structure of contemporary people under the influence of urban civilization, commercial culture and virtual internet. Accordingly, when writing novels, the three authors also use ”lying” as a primary creative idea. In the novel, author, narrator, or characters can ”fabricate for fabrication's sake,” in hopes of ”doing-over” via disappeared matters and damaged emotions, and resisting the disturbance of urban civilization to humanity by writing novels. However, using novels as a way to console the mind is only a ”light” posture of resistance toward the world. It is more of a way to ”adapt to” the world.Finally, the paper summarizes how the novels of the three authors have inherited from and transformed the postmodern novels. They have innovative attempts and excellent performance in breaking through the boundary between refined and popular culture, as well as in using formal techniques to define the core values of postmodern thought; their future creative performance is worthy of expectation and attention.