- 學位論文
當我們討論散文，我們討論的是—— 戰後台灣「散文」形構考
What We Talk About When We Talk About “San-Wen”: A study on the formation of “San-Wen” in Post-War Taiwan
摘要
2023年11月，潘柏霖〈媽媽說我是假的〉獲得第十九屆林榮三文學獎散文首獎，引起廣泛爭議。這篇文章的敘事者形象與潘柏霖本人之間存在差異，使得作品被質疑為「虛構散文」，題材涉及跨文類投稿的問題。此外，部分讀者表示文章的內容與他們的個人經驗高度相似，進一步引發有關代言弱勢的討論。 為何打破真實的界限會引發如此強烈的反應？本文探討台灣對散文「真實」的理解及其來源，指出其中涉及的三個面向：文類生成、主流論述和去中心化。本文將散文定義為一種「宣稱為真」的敘事行動，並將「真實」定義為文學場域中主導權力所把持者，進一步探討台灣戰後以來，散文如何通過擬仿真實來爭取發聲的機會。 自戰後以來，台灣的散文在話語權的演變中經歷了多次變化。在冷戰非常態時期（1952-1987），台灣的內部威權政體和外部冷戰局勢共同影響了散文的發展。這一時期的散文面對官方意識形態的壓力，努力在被允許的真實中尋找表達的空間。例如，1950年代的女性閨秀美文和男性學者散文，透過滿足威權政府的需求獲得市場優勢，而到了1960年代，因為學院的引介，英美文學理論強調的詩和小說地位提升，進一步鞏固了現代散文的文類形象。 隨著1988年解嚴，台灣進入了知識平權時期（1988-2008）。本文聚焦於1980年代後臺灣社會逐漸轉型商業社會，而形成中產階級之美學位置進行觀察，聚焦於1980年代呈現於報刊及其主辦之文學獎，以及1990年代隨之出現的「類型散文現象」為觀察對象，論證因臺灣逐漸轉型為商業社會，而在出版界產生教育程度提高的新讀者群，因而在「散文」文類中呈現出對於「新知」的渴求，而不能滿足於文字技藝，可見臺灣文學場域對於「散文」的期待，在解嚴後已然自「文字工藝」往「非虛構知識載體」之方向移轉，而呈現出與前一世代截然不同之傾向。 進入資訊爆炸時期（2009-）後，網路和社交媒體的崛起，使得傳統知識形式受到挑戰。文學場域中，散文的定義和價值再度被檢視。此時，文學獎的爭論開始強調真實與虛構的對立，並對散文進行去中心化的思考，散文選編輯者則主張其應該具有更大的自由度和多樣性，從而解構文類的傳統定義。
並列摘要
In November 2023, the first prize of the 19th Lin Rong San Literary Award was awarded to Pan Bo-lin（潘柏霖）'s san-wen（散文）”Mom Says I'm Fake（媽媽說我是假的）,” which sparked widespread controversy. The difference between the narrator's persona and Pan Bo-lin himself led to accusations of the work being "fictional san-wen," raising issues related to cross-genre submissions. Additionally, some readers reported that the content closely resembled their personal experiences, further igniting discussions about plagiarism and the representation of marginalized voices. In addressing the controversy surrounding "fictional prose," this article first explores Taiwan's understanding of "truth" in san-wens and its origins. It questions why breaking the boundaries of truth elicits such a strong reaction, analyzing three related aspects: genre formation, mainstream discourse, and decentralization. This thesis defines “san-wen” as a form of “mimetic” narrative action and “truth” as a construct controlled by dominant power in the literary field. It further investigates how Taiwanese essays have sought opportunities for expression through mimicking reality since the post-war era. Since the post-war period, Taiwanese san-wens have undergone numerous changes in the evolution of discourse power. During the Cold War's abnormal period (1952-1987), the internal authoritarian regime and external Cold War context both influenced the development of san-wens. During this time, san-wens confronted pressure from official ideology and struggled to find space for expression within permitted realities. For example, in the 1950s, female literary works and male scholars' works gained market advantages by catering to the needs of the authoritarian government. By the 1960s, the introduction of English and American literary theories through academia elevated the status of poetry and fiction, further solidifying the genre image of “modern san-wens.” With the lifting of martial law in 1988, Taiwan entered a period of knowledge equity (1988-2008). The society faced a relatively open discourse environment, and an increase in readership and education levels transformed the role of san-wens. Knowledge dissemination shifted away from "literary" san-wens toward "non-literary" knowledge fields – essays. At this time, discourse power transitioned from the government to academia, and a gradually institutionalized notion of "creativity" emerged in Taiwanese society, seeking to treat "literary awards" as a discourse method for "establishing creativity as a discipline." Works that failed to gain acceptance in academia sought to validate their value beyond "disciplinary knowledge" by winning literary awards, which helped establish the impression that san-wens, novels, and poetry formed the three major "genres." Entering the information explosion era (2009-present), the rise of the internet and social media challenged traditional forms of knowledge. Within the literary field, the definitions and values of san-wens were reevaluated once again. At this point, debates over literary awards began to emphasize the opposition between truth and fiction, leading to a decentralized consideration of san-wens. Editors of san-wen anthologies argued for greater freedom and diversity, thus deconstructing traditional genre definitions.