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奪胎換骨：論奚淞〈封神榜裡的哪吒〉及〈奪水〉
REFURBISHED :ON XI SONG〈NEZHA ON THE FENGSHEN BANG〉AND〈SEIZE THE WATER〉
摘要
奚淞〈封神榜裡的哪吒〉及〈奪水〉兩篇短篇小說，有諸多相似之處，例如均為中國古代神話或民間傳說改寫之作品，前者取材自明代《封神演義》哪吒故事，後者由北京建城傳說所生。兩者雖然是舊材料，卻飄散著「現代」氣息。本文從形式及蘊義方面，探討奚淞「翻新」的手法及思維。奚淞運用臺灣六0 年代「現代主義」小說常使用的多元「視角」，及「戲劇性獨白」，吐露了人物深層綿密的思路。哪吒及高亮都茫然於自身存在的意義，反映了隨「現代主義」傳來的「存在主義」思維。同時，也訴說著青年或少年在對自己、對人生、對世界的思考，符合「成長小說」的條件。〈封神榜裡的哪吒〉又加添暗示同性慕愛的描述，成為臺灣「同志文學」系譜之一員。這種手法魯迅名為「故事新編」，本文認為奚淞的創新遠多於襲舊，或可以「奪胎換骨」名之，以突顯其在故事中的創發性。
並列摘要
Xi Song 〈NeZha on The Fengshen Bang〉 and 〈Seize the water〉, there are many similarities, such as both Chinese ancient mythology or folklore rewrite of works .the former drawn from the Ming Dynasty, 〈Fengshenyanyi〉NeZha story，the latter by the legend of the city built in Beijing . Although both the old material, but released into the atmosphere, ＂modern＂ flavor. In this paper, from the form and implication, to explore Xi Song ＂refurbished＂ approach and thinking. Xi Song used the pluralistic ＂perspective＂ and ＂dramatic monologue＂ often used in the ＂modernist＂ novels of Taiwan in the 1960s to reveal the deep-seated ideas of the characters. NeZha and Gaoliang are at a loss in their own meaning, reflecting the ＂modernism＂ came the ＂existentialism＂ thinking. At the same time, also tells the youth in their life, thinking about the world, in line with ＂growth novel＂ conditions. 〈NeZha on The Fengshen Bang〉 also adds to the description of homosexual love, be Taiwan's ＂gay literature＂ pedigree.