摘要
論文名稱：當代台灣小說的神話學解讀 校院系：國立暨南國際大學中國語文學系 頁數：140 學號：92101509 學位別：碩士 研究生：沈曉雯 指導教授：黃錦樹 論文摘要： 不論是遠古與現代，不論是東方與西方，相同的主題相同的意象總是不斷的反覆出現，那是因為人類思想有共通性，這便是神話的思維，榮格的「集體潛意識」，弗萊將之應用在文學中，提倡「原型批評」，而詹明信將文學歸結為社會的象徵行為。以此為理論背景來分析當代台灣小說中的神話象徵意義。 首先第二章將以仙鄉神話分析李永平的兩本重要小說《海東青》與《朱鴒漫遊仙境》，討論鯤島、蓬萊仙山和桃花源在書中的神話意涵，串連鳥圖騰隱喻，李永平用漫遊帶出書中兩個重要議題：女性與歷史，進而探討這些時空座標描述的仙島，放在現代台灣空間所呈現的意義。 第三章則以烏托邦神話討論張貴興的雨林小說，《賽蓮之歌》、《頑皮家族》、《群象》、《猴杯》及《我所思念的長眠中的南國公主》，這些小說都取景於馬來西亞濃密的雨林，張貴興本來就是操弄文字的箇中好手，這些描寫雨林的小說，文字使用的更是綿密華麗，使得他的小說成為文字「語」林，身為馬來西亞華僑，他似乎承襲了境外流寓華人對於原鄉的渴望，他的小說充斥著中國符碼，他所建立的烏托邦不只是國族的，而是將雨林的符碼與中國符碼交換，交織成一個愛欲與暴力的審美烏托邦。 第四章為朱天文與朱天心的個人神話，接受胡蘭成的禮樂教化，在他們的文本中都欲彰顯某種神聖性，不過因為朱天文的神聖很明顯指向胡蘭成，而這部分已有許多學者論及將不在過多贅述，重心還是放在朱天心部分。而二者小說中龐大的抒情主體，使得他們所建構的神話是個人的，因為小說中的神話體系是一脈相承的，所以將二者並為一章。這一章借用了伊里亞德神聖與世俗的宗教現象學的理論，討論他們二者的個人神話中所建立的神話思維。 第五章則較屬於社會學的剖析，當本土文化越來越興盛，台灣人就越認同自己的土地，也會想擁有一個主權獨立的國家，那麼主事者必須為這個國家建立神話，神話是文學的原型，因此我們可以在這類小說中找出建國神話的原型。本章先以李喬的《寒夜三部曲》為例子，三代家族的故事這類本土長篇小說偏向一種建國的意識型態；當台灣強調本土性，那最先在台灣生活的原住民是不可以忘記的，但他們長期被壓制恐嚇，如今想要在夾縫中求生活，仍是靠建立族群的神話；最後台語文字化最接近建國目的了，建國的首要目標必先統一語言，但台灣是一個多元社會，主事者欲以台語為國語，這除了是台語霸權外，更像是古式社會為穩固族群所建立的圖騰崇拜，圖騰崇拜不僅凝聚一族的向心力，還區分敵我。但也是本文最初的動機，原來經過千年的進化，古老的神話思維似乎還是存留在我們身體裡。 第六章結論，將從現代文學作品統一歸納出古老的神話思維，釐清文學與現實、神聖與世俗、原初與現代之間，神話在其中循環的過程。
並列摘要
A Mythology Study in Contemporary Taiwan Fiction Abstract: Due to conceptions shared by all human societies, unchanging themes and images have been repeatedly portrayed, in ancient and modern times, and both in the East and the West. This is the so-called mythic conception. Given this context, Frye applies Jung’s concept of “collective unconscious” in literature and advocates archetypal criticism. In addition, Zhan Ming-xing epitomizes literature as symbolic behavior of our society and analyzes myth symbolism in contemporary Taiwan literature. These perspectives are used as the theoretical background of this paper. In Chapter II, the concept of the “fairy-island myth” is used to analyze two important novels of Lee Yong-ping: Hai-dong-qing and Wandering of Red Pigeon in Wonderland. The mythic connotations of Kun-dao, Peng-lai Fairy Mountain, and Tao-hua-yuan in these books are discussed. Using a metaphor of birds, two important issues in the books are disclosed through the “wandering” of Lee Yong-ping: women and history. The fairy-island idea described in the context of these specific times and spaces is presented, and its meaning within the scenery of modern Taiwan is discussed. In Chapter Three, the rainforest novels of Zhang Gui-xing are analyzed through the concept of Utopian myth. His novels, including “Song of Sai-lian,” “Family of the Naughty,” “Elephants,” “Monkey Cup,” and “The Nan-guo Princess in Death’s Hand I Long For” all use the dense rainforest in Malaysia as the background. As an expert of maneuvering language, Zhang Gui-xing presents the rainforest stories in a flamboyant and ornate style, turning his novels into the “rainforest” of language. As an overseas Chinese in Malaysia, he seems to have inherited the longing of overseas Chinese for their homeland; his novels are full of Chinese cultural codes. His Utopia, however, is not an ethnic one, but rather an aesthetic Utopia interwoven with love, desires and violence, with the imagery codes of rainforest exchanging for those of Chinese culture. In Chapter Four, the personal myth of Zhu Tian-xin in “Ancient City” and “Man-you-zhe” (Roamer) is discussed. Using the religion phenomenology theories based on the idea of the profane and the sacred in the Iliad, I discuss the connotation the sacred Zhu wants to portray in the two “ancient cities.” Omnipresent sentimentality is the most distinctive difference between these two books of Zhu and those of the two authors above. Therefore, her myth is personal; her homesickness is more religious. After her father passed away, however, her homesickness became more specific; she managed to cross the border of life and death through writing, which is her version of “roaming.” Chapter Five involves more sociological analysis. The more local culture thrives, the more Taiwanese people appreciate their own land and the more they want to establish a sovereign country of their own. In this situation, a myth for such a nation has to be produced by the people in charge (of such task). Myth is the archetype of literature, and we can find the archetype of nation-founding in novels of this genre. First, “Cold Night Trilogy” by Lee Qiao is used as an example. This is a story spanning three generations; local novels similar to this one are oriented toward nation-founding ideology. As the notion of ‘local’ becomes popular, it becomes necessary to remember settlers in the early days, the days of long and bitter suppression and terror. Today, people (with the nation-founding idea) are struggling to keep such ideas alive through the myth of establishing an ethnic entity. At the end of the day, a written form of Taiwanese turns out to be the approach closest to the goal of nation-founding, as uniform language is the first step toward such a goal. Although Taiwan is a society of diversity, those in charge of this task still want Taiwanese to become national language. This approach not only implies the intention toward language hegemony, but also efforts for totem worship, which is advocated in order to achieve ethnic solidarity. Totem warship not only consolidates ethnic allegiance, but also establishes the criteria to differentiate enemy and friend. In this paper, such mentality is the prevailing theme; after an evolution of thousands of years, ancient mythic concepts are still very much alive today. Chapter Six is the conclusion. The presence of ancient mythic concepts is disclosed through am analysis on modern literary works, which reveals the cyclic reincarnation of literature/reality, the sacred/profane, and the ancient/modern.