論1950、1960年代文學生產與戰後散文的典律模塑：以《文星雜誌》與梁實秋為例

本文旨在探討1950、1960年代台灣文學生產型態，如何介入並影響戰後散文美學典範的建構。國民黨威權統治轉趨疲弱之際，台灣文壇漸從反共單音走向複調多音，文學生產亦不斷發展出與反共文藝體制相異的型態。於是戰後遷臺作家透過文學生產機制轉型的契機，在間接享有時代與體制資源的雙重條件下，形構戰後散文的美學典範。本文將以《文星雜誌》與梁實秋散文為對象，透過文學現場的重返，將典律化的問題回歸文學生產型態本身，析論梁實秋散文在1950、1960年代如何被《文星雜誌》採納與收編，而在特殊時代的文學生產機制下，梁實秋的典律意義又如何被模塑與轉化。進一步發現，無論是透過「舊文新刊」或者是叢書出版，梁實秋都因其五四文人的身分而得以進入《文星》的場域，並藉由文學生產機制的運作，重新獲得自身典律的再造空間。擴及至戰後散文來看，叢書有意的收編與出版，無形中也成為閒適散文典律生成的助力。是以，影響典律建構的就不僅只是場域外部的時代與政治等力量，場域內部的文學生產機制，也共同參與著美學典律的建構過程。此一研究路徑，可使五、六○年代文學發展的研究視角兼及場域內部的考量，而不致落入對於政治傾向的過度關注。

關鍵字

文學生產；戰後散文；典律模塑；《文星雜誌》；梁實秋

並列摘要

This research discusses how the production form of Taiwanese literature during the 1950s and 1960s influenced the construction of aesthetics in essays after World War II. As the Kuomintang's authoritarian regime languished, the literary genre dominating Taiwan's literati during that time changed from anti-communism to multiple genres, and literary production also developed forms that were different from anticommunism. With the transformation of literary production and indirect advantages from the transition of the times, the aesthetics of essays after World War II was established. This research brings the subject of canonization back to the literary production form by analyzing Wenxing and the essays of Liang Shih-Chiu, discussing how Liang's essays were collected and compiled by Wenxing during 1950s and 1960s and how Liang's canon has been constructed and transformed under unique literary production forms during specific times.