抒情與見證──「傷痕文學」重探

「傷痕文學」這個名詞，一向籠罩在膚淺、重複傷痕等負面意涵中。目前學界的認識：在中國，它是鄧小平派與華國峰派之間角力下的生產物，是政治鬥爭的延伸；而漢學界則在相對寬裕的環境中，對中國境內極權的氣氛緩解有高度期望與失望。這兩者視域無法接合，但對傷痕文學的貶抑卻是同時存在的。　　若藉「暴露──傷痕」的格式，尋找「傷痕文學」的歷史脈絡，可以從晚清的譴責小說開始理解，對醜惡與傷痕的揭露，是通過文學形塑民族的方式。二○年代有茅盾與阿英對於暴露與歌頌的討論，三○年代末則有華威先生的爭議。國民性話語的一環。「暴露缺點」在戰爭背景中，是敵方的宣傳，潑了民族主義激情的冷水。所以，「暴露缺點」的使用，在1942年毛澤東的〈講話〉受到了嚴格的限制。而在文革中，負面功能也是激進的層面完全失控，變成是鬥爭他人的武器，而正面功能，也就是批評功能，則成了政治不正確，兩面不討好。　　其歷史縱深與理論內涵，一直受到漠視。本文企圖通過「抒情」與「見證」兩個關鍵視角，並對相關作家與作品進行探討，已達到重新詮釋之目的。

關鍵字

傷痕文學；抒情傳統；見證；文化大革命；聶紺弩；楊絳；章詒和；史鐵生

並列摘要

Literature of Hurt Generations (Scar Literature) has always been viewed or linked to negative notions such as shallowness, and repeating itself. For its origination and definition, the academic world regards it as an extension of political struggles, which arose from the competition between Deng XiaoPin and Hua GuoFeng ; while the Sinological World holds more tolerant view, and set higher expectation to its value for the mitigation of China’s totalitarian. Though the two perspectives didn’t seem to align and integrate, however, they both criticized and depreciated the value of Literature of Hurt Generation. 　　One can trace the literature back to the Blasting Novel in late Qing Dynasty to find the similar “Exposing Scar” theme, and the purpose of uncovering the disgrace & scars is to build & reinforce the identity and formation of nation. In 1920s, Shen YangBin and Qian XingCun discussed about exposure and praise, in 1930s, there was a satirical, controversal piece called “Mr HuaWei”, both are part of the Discourse of National Character. In the context of war, “to expose the faults ”can become the propaganda of opposition parties, and also discourage the nationalism. So it has been prohibited (or restricted) by Mao ZeDong to expose the fauls after 1942. During the Culture Revolution, the Exposure of the faults can become a weapon to battle by the enemy, but also be “Political Incorrect”, so it didn’t please both sides and is not favored by both parties. 　　The profundity of history and theory of Literature of Hurt Generation has always been underrated. In this thesis, two viewpoints (Lyric and Witness) were applied to examine the relevant writers and their pieces, so one can reinterpret the Hurt Generation and its literature.

並列關鍵字

Literature of Hurt Generations ； Scar Literature ； Chinese lyric tradition ； Witness ； Culture Revolution ； Nie GanNu ； Yang Chiang ； Zhang YiHe ； Shih Tie-Shen