舒暢小說的「寫實性轉向」研究

本論文從舒暢的生平背景與創作歷程開始，探索其小說在七○年代中葉以降出現的「寫實性」轉向原因與目的，並對其小說內涵所展現的，對外省低階退役士官兵的關懷進行探討。　　舒暢早期的小說有著明顯的現代主義傾向，論者在評論之時也往往傾向將其標舉為現代主義的創作者，然而值得注意的是，多位同樣具有軍旅經驗的論者在肯定其在現代主義造詣的同時，也指出了舒暢小說具備了現實基礎。由此，則舒暢早期的創作雖對主角的身分背景未做說明，但我們仍大抵能夠推知其筆下的種種敘述例如對異性的渴望、對常規家庭的叩問以及不斷在兩地徘徊的猶疑，應都與他的遷台者身分以及軍中背景有著重要的聯繫。　　《院中故事》是舒暢小說出現轉向的重要指標，其整體的創作時間約莫與鄉土文學運動的時間互相重合，而該作不僅僅是在敘事手法上往寫實主義作靠攏，在觀察角度上也從過往的內省自剖轉往對敘事者周遭人物的境遇作呈現，此轉向令讀者可更加深切地感受到，過往舒暢筆下的種種困境，並非僅僅是侷限於個人的悲苦，而是一個群體正在共同承受的磨難。　　台灣於1987年迎來了解嚴的曙光。而在解嚴後發生的兩項社會運動：老兵自救運動促成的政府開放返鄉，以及救援雛妓大遊行與隨之而起的特約茶室議題，觸動了舒暢敏感的神經，使其在耳順之年提筆寫下《那年在特約茶室》，以一介前線軍官的觀點敘述了與社會主流認知有所出入的特約茶室風景，並揭開了過往被官方覆蓋於神聖形象下的戰地風貌，大聲宣告了人性的譴綣與官方視角的不能相容。　　筆者認為，舒暢之所以在七○年代中葉後在創作上出現「寫實性」轉向，除了肇因於彼時台灣「革新保台」的社會風氣與鄉土文學蔚為風潮的影響。老兵因日漸衰老而與社會產生隔閡，並且因知識水平與各種原因難以對自身困境有清楚的言說亦是原因之一。由此更顯舒暢小說的重要性，其不僅是透徹的旁觀者，亦是身在其中的一份子，藉由舒暢的引導，我們得以對這些未被記錄的老兵末路與被掩蓋在歷史文件下的戰爭記憶有更深一層的認識。

關鍵字

舒暢；老兵文學；軍中文學；「寫實性」轉向

並列摘要

This thesis starts from Shu Chang’s life background and creation process, and explores the reason and purpose of the "realism" turn in his novels since the mid-1970s, and shows the connotation of his novels, the concern for the low-level retired soldiers of the foreign provinces Discuss. Shu Chang’s early novels have obvious modernist tendencies, and commentators tend to label him as modernist creators when commenting. However, it is worth noting that many commentators who also have military experience affirm that they are modernist. At the same time of attainments, it also points out that Shu Chang's novels have a realistic basis. Therefore, although Shu Chang’s early creations did not explain the protagonist’s identity and background, we can still infer the various narratives in his pen, such as the desire for the opposite sex, the questioning of the regular family, and the constant hesitation between the two places. Ying Du has an important relationship with his status as a relocator and military background. "Story in the construction of veterans" is an important indicator of the turn of Shu Chang’s novels. Its overall creation time approximately coincides with the time of the local literature movement. This work is not only closer to realism in narrative techniques, but also in terms of observation. From the introspection and self-dissection of the past to the presentation of the circumstances of the characters around the narrator, this shift allows readers to feel more deeply that the difficulties in the past Shu Chang’s writings are not limited to personal sorrows, but a group of people. The hardships being shared. 　　 Taiwan ushered in the dawn of understanding Yan in 1987. The two social movements that took place after the lifting of the martial law: the government’s return to hometown facilitated by the veteran’s self-rescue movement, and the parade to rescue young prostitutes and the special tea room issue that followed, touched Shu Chang’s sensitive nerves and made them feel better. The pen wrote "In the military paradise That Year", from the viewpoint of a frontline officer, he described the scenery of the special tea room that was different from the mainstream perception of the society, and unveiled the scene of the battlefield that was covered by the government under the sacred image in the past. The condemnation of human nature is incompatible with the official perspective. 　　 The author believes that the "realistic" turn of Shu Chang's creation after the mid-1970s was not due to the influence of Taiwan's social atmosphere of "renovating and protecting Taiwan" and the trend of local literature. Veterans are estranged from society due to their aging, and it is also difficult for them to speak clearly about their plight due to their knowledge level and various reasons. Therefore, the importance of Shu's novel is even more obvious. It is not only a thorough spectator, but also a part of it. With comfortable guidance, we are able to treat these unrecorded veterans at the end and be covered in historical documents. The memory of war has a deeper understanding.