以契約的毀壞與建立看呂赫若〈暴風雨的故事〉

呂赫若小說關注的主題，多為農業結構變遷中傳統家族的困境。〈暴風雨的故事〉藉由描寫女主角罔市受地主強暴、男主角老松受地主欺壓悲慘的遭遇，體現了階級對立的社會意識。小說描寫「佃農殺死地主」的故事，藉由「殺人」此項震驚鄉里的行動語碼，彰顯日治時代地主／佃農階級存在著根本的矛盾。本文運用結構主義理論，以布雷蒙考察「敘事之可能邏輯」得出敘事兩種相反地基本形式：漸趨佳境與每下愈況，並運用個雷馬斯的契約單位，分析〈暴風雨的故事〉這篇小說的結構。本文梳理敘事文本內在規律外，同時對「敘事虛構文本」雙重語境的關注，探討此文本世界指涉／模仿真實的世界，其文本封后的時代意涵與歷史背景，並藉由小說結構與語意的完整把握，綜合前人在日劇時代社會結構、政治制度、社會階級等相關研究成果，期盼能以另一種角度拓展原有的學術成果。

關鍵字

呂赫若；暴風雨的故事；結構主義；契約；布雷蒙；格雷馬斯

並列摘要

Most of Lu, Hojo's novels focuses on traditional families' morass resulted from agricultural structure transition. The novel Stormy Story exposes a social consciousness of class antagonisms by describing a story concerning a raped actress and oppressed actor by landlord. It also reveals the prime contradiction between landlord and villein through a shocking story on ＂villein killed a landlord＂ during the Japan occupying Taiwan age. By using a theory of structuralism and Claude Bremond's ＂possible logic of narration＂ theory, this thesis concludes two contrary formulations: ＂to be better and worse＂. It also uses A. J.Greimas's contract theory to analyses the structure of the novel Stormy Story. In addition to internal rule of narration text, it stresses narrative fiction text of double context and discusses the world in this novel compared/imitated to the real world with a hope to expand former academic results depending on the rich significance and historical background as well as integration of novel structure and meaning of this novel, and combining with social structure, politic system and social class in Japan occupying Taiwan age.