從－“鄉”情願到共“鄉”盛舉：《高加索灰闌記》中家鄉與土地之理念

My Homeland is our Homeland: Home and Land on Brecht's Drama Der kaukasische Kreidekreis

簡潔(Chieh Chien)

《東吳外語學報》 27期 (2008/09) Pp. 203-219

https://doi.org/10.29737/SJFLL.200809.0009

摘要

在《高加索灰闌記》一劇中，布雷希特基於社會主義之價值觀而主張個人應摒除原來之主體性、主觀認同以及與家鄉土地緊依相連之自信心和安全感，擺脫原來寄託於家鄉土地之浪漫情懷，破除狹隘之社群／族群歧異，逾越單一社群／族群安身立命之單薄思考，重新開展視域與心胸，將小我之地域認同建基於大我之社會國家認同。 透過此劇，布雷希特雖未直接批判家鄉或土地之傳統，卻重新建構家鄉與土地之概念，消解家鄉與土地之神話，同時打破傳統之鄉土情結，駁斥其虛假神聖，否定族群安土重遷、落地生根之歷史延續性，而重建另一家鄉與土地之神話論述。換言之，土地之實用性與民生之現實性取代了家鄉土地之虛構與神話。 布雷希特之社會主義只重經濟效益，講求開發土地之密度與強度，在今日看來，名符其實為對土地之征服、侵害、剝削與耗損，罔顧生態平衡，違反自然之永續發展。儘管高扛捍衛土地之旗幟，卻儼然自然之侵略者。

關鍵字

家鄉 ； 土地 ； 自然 ； 社會主義 ； 歷史

並列摘要

In the Drama Der kaukasische Kreidekreis Brecht tries to show his perception of homeland and earth. He believes that for approaching the socialistic values, the individual subjectivity, personal and ethnic identification and dependence on the romantic realization of homeland and earth should be abandoned. The only policy of moderation bases mainly on the identification with the society and the country.
In this drama Brecht does not criticize the conventional understanding of homeland or land directly. But since he reconstructs a new idea of homeland and earth, the traditional myth of homeland and earth, at the same time, is in question. Actually the ideology behind the myth is dubious. According to Brecht the practical development of land and the living standard should replace the myth and its historical ideology. It seems that Brecht designs another myth of homeland and earth in this drama.
This project tries to criticize Brecht's appeal to socialistic economic efficiency not only from the point of Brecht's time, but also from the perspective of the current understanding. Today Brecht's idea of the overdevelopment of earth can be understood as destroying the environment and the nature. In this drama, the way to protect the land is actually replaced by the way of damaging it.

並列關鍵字

homeland ； earth ； nature ； socialism ； history

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