- 期刊
苦難中的愛－透視莫言《豐乳肥臀》的女性意象
Love in the Suffering-A Perspective on the Female Image in the Book of 《Big Breasts & Wide Hips》 of Mo Yan
摘要
莫言，2012年諾貝爾文學獎得主，是首位以華文寫作而獲得諾貝爾文學獎的華人作家。其小說《豐乳肥臀》於1995年底出版，長達五十萬字，曾獲得中國首屆「大家文學獎」。莫言曾說過，這部小說是他迄今為止最沉重的一本書，也是感情包含最豐富的一本書。儘管他自己最為重視，也視為代表作，然而卻是遭受最多誤解與批評的書。多數評論家將眼光放在書名（豐乳飛揚、肥臀搖擺）上大肆批評，指其有「戀乳癖」和物化女體之嫌。然而，誠如蘇童在講評《豐乳肥臀》時說的，「我欣賞此作所保持莫言一貫的泥沙俱下的激情，這種激情中有金子的閃光，有對民族人類社會寬闊的審視角度，尤其在眾多的女性形象上投注了兒子之愛，這種愛經過變形、誇張，但仍然是有深度的，富有詩意的。」作品兩極化的評論，可為作品帶來更大的解讀空間。本論文循著小說極力刻畫的母親上官魯氏一角，為了在夫家保有自己的存在地位，瞞著「無能」的丈夫在外「借種」（與外國牧師），最終生出一「孬種」，卻還是無怨無悔地付出的脈絡加以闡釋，透視其中所投射的意象和寓意。看見莫言以其奔放奇詭的想像雜揉宗教救贖的命題，為中國近百年來女性/母性經歷的苦難予以形象化的描述。豐乳、肥臀作為女性的重要特徵，原是生殖、繁衍之所賴，但當一個女人必須不斷重複生養的功能以確保自己的生存與價值，或不斷展示其功能，以維持自身的權益與地位時，這不僅是社會之恥，也是時代之恥。曾說過「結構就是政治」的小說家莫言，不惜用敘述翻轉文本所構築的寬厚、傳統、經典的母親形象，再一次挑戰中心與邊緣的議題，除有文化與政治的反諷意涵外，原是對人性不可克服之弱點的沉痛悲憫。
並列摘要
Mo Yan, the winner of the Nobel literature prize, is the first Chinese writer who wrote the book in Chinese and won the Nobel literature prize. His book 《Big Breasts & Wide Hips》 was published in the end of 1995 and it was as long as five hundred thousand words and he also won the first annual ＂Dajia Honghe Literature Prize」 of China. Mo Yan once said, this fiction is the heaviest book up till now and is a book with the richest feeling. Although he himself pays most important attention on this book and regarded it as a representative work, yet it is a book that receives the most misunderstanding and criticism. Most of the critics put their eyesight on the name of the book (Flying big breasts, Swaying wide hips) pointing that he has ＂breast fetishism＂ and objectifies females. However, in the critic on 《Big Breasts & Wide Hips》 by Su Tong he says: I appreciate the mingling of good and bad of passion that Mo Yan maintains consistently in this work. In this kind of passion, there is flashing of gold and there is a wide examination angle on the human society. Especially the devotion of love on the son in many female images and through transformation and exaggeration, this kind of love is still deep and rich with poetic quality.＂ The polarized critics on this work can bring much larger interpretation on this work. This thesis follows the role of the mother Shangguan Lushi that the fiction carves with intense effort. In order to preserve her position in her husband family and without the knowledge of her ＂impotent＂ husband she ＂had sex＂ with a foreign priest and finally she gave birth to a ＂bastard＂. Yet she still gave her love without regret and this context was explained and perspective was made on the image and meaning being projected. Mo Yan uses his enthusiastic and eccentric imagination mixed with religious redemption as the proposition to describe the imaging of the suffering of female/mother in recent hundred years in China. Big Breasts and wide hips are important features of female and are being relied on for giving birth and propagation. However, when a female has to repeat her breeding function continuously to ensure her own existence and value, this is not only the disgrace of the society, it is also the disgrace of time. Writer Mo Yan once says ＂structure is politics＂, he does not hesitate to use description to turn over the tolerant, traditional and classical mother image in writings and once more he challenges the topic of center and margin. Apart from the ironic connotation of culture and politics, this is a heavy sympathy on the weakness of human nature that cannot be overcome.