「擬仿文化研究、調動文體要素、深化寫實觀」共同建構的文體意識形態－論韓少功《暗示》的小說文體實驗

韓少功是大陸文壇八○年代中期重要的尋根文學作家，以《爸爸爸》、《女女女》等小說創作，實踐其所提出的將文學之根深紮於傳統文化的信念；九○年代中期，再以《馬橋詞典》一書特殊的「方言詞典」結構形式，引發文壇上的爭議；新世紀之初，《暗示》隨即問世，此作是韓少功繼《馬橋詞典》之後，又一以片段形式結構長篇文本的鉅作，全書以一百多個解釋「具象」的詞條構成，如同作者所言是一部「象典」。本文探討其文體實驗使用之書寫策略以及背後隱含的意識型態，從學術界的「文化研究」風氣、作者調動文體要素的深意、大陸作家對寫「真實」一貫的警覺、作家對文體傳統源流的思考、對東歐作家米蘭．昆德拉小說文體的翻譯借鑒等面向，析論此一文體構成的特殊意義。

關鍵字

長篇小說；片段結構；文化研究；文體要素；寫實觀；文體傳統；米蘭．昆德拉小說文體；文體意識型態

並列摘要

Han Shaogong, an important Chinese writer of root-seeking literature in the middle of 1980s, realized his belief that the root of literature should be delved into traditional culture, as his novels ”Bababa” and ”Nyunyunyu” had presented. In the middle of 1990s, the exceptional structure of ”dialect dictionary” in his ”Ma Ciao dictionary” has evoked disputes in the literary circles. In the beginning of the new century, ”An-Shi” has presented to the public subsequently. It constructed novels with the form of fragments, and it was Han Shaogong's another masterpiece following his ”Ma Ciao dictionary”. The whole book was constituted by more than one hundred entries which explain ”figuration” and, just as the author stated, it was indeed a ”figuration dictionary”. The present study explores the writing strategy used in his stylistic experiment and its implicit ideology. We also analyze the unique connotation that such style has constructed from dimensions such as the trend of ”cultural studies” in academic circles, the implication of the author's redeployment of stylistic elements, Chinese writers' consistent vigilance toward ”reality”, writers' thinking about the traditional origins of styles , and the reference of the Eastern European writer Milan Kundera's novel style.

並列關鍵字

novels ； fragment structure ； cultural studies ； stylistic elements ； realistic view ； stylistic tradition ； Milan Kundera's novel style ； stylistic ideology

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「擬仿文化研究、調動文體要素、深化寫實觀」共同建構的文體意識形態－論韓少功《暗示》的小說文體實驗

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