摘要 由六年級作家組成的新世代小說家,在二十一世紀初崛起於台灣文壇;這批小說家出身文學獎,書寫地方感(sense of place)的小說主題,在成名後發展出各自的小說美學。前行研究多著墨於新世代小說家的新鄉土特質,對此輩小說家的小說美學和藝術承襲忽視不論。筆者試圖分析王聰威的藝術承襲和寫作傾向,藉由對王聰威小說的爬梳整理來釐清此輩作家的世代特徵,並且在前人奠定的論述基礎上進一步探討王聰威的小說美學。王聰威寫作面向橫跨大眾與純文學,而他編輯和作家的雙重身分,賦予他獨特的寫作風格。筆者認為王聰威受外國翻譯文學影響甚深,小說除受法國新小說與村上春樹作品影響,並出現影像性書寫特性,作品呈現封閉的空間感和對女性視角的關懷,內容著意描寫愛情。王聰威的崛起反應新世代小說家的藝術承襲及發展軌跡,並呈現出此輩作家面臨銷量困境時在寫作上向大眾靠攏的傾向。
Born in the 1970s, a new generation of novelists appears in the literary circle of Taiwan in the early 21st century. This group of novelists was originally known through winning literary awards with works imbued with a sense of place, and yet each of them developed one’s own aesthetics after they became well known. Precedent researchers mostly focused on the characteristics of neo-nativism in their novels, but rarely mentioned their literary aesthetics and the artistic influences they receive. This thesis thus attempts to analyze the artistic influences on Tsung-Wei Wang’s work and his writing style and to differentiate the major characteristics that the works of the new generation novels entail. First, Wang’s work encompasses both popular genres and serious literature, and maintains a distinctive writing style owing to his dual identity as editor and author. Secondly, because Tsung-Wei Wang has a penchant for reading foreign literatures in translation, not only are his novels influenced by French nouveau roman and Haruki Murakami, but they are also infused with cinematic elements. Thirdly, Wang has a persistent interest in adopting a female perspective with a focus on the theme of love in his work. Hence the representation of enclosed space has been the locus of Wang’s several novels, a locus that deserves further investigations. In addition, Wang’s turn to popular literature also exemplifies the choices that the new generation writers make when they face the difficulty in the field of literary production in Taiwan.
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