抒情與本土：戰後臺灣文學的自我、共同體和世界圖像

「臺灣文學本土論」與「中文抒情傳統」乃是戰後臺灣史上兩支重要的文學流派，其所擘劃的史觀與視野時至今日仍是臺灣文學的創作者和批評家根本的參照體系，在吾人設想「何為臺灣／文學」、「臺灣／文學何為」等攸關此間「共同體」之人文風景與願景的問題時，提供了賴以聯想、類比的比喻系統；與此同時，「抒情」與「本土」也提供了臺灣人自我之能夠與他人同情共感、乃至和世界產生關聯的闡連機制。透過將注意力鎖定在這兩個術語，本論文試圖重探的不只是戰後臺灣文學對於「自我」與「共同體」的提問，更還有其求索「世界」的軌跡。概要而言，與「本土」相連鎖的是身份政治上的後殖民立場，透過寫實主義的模擬與代現觀念，來界定「臺灣文學」的現實，同時澄清它的認同，乃是其人的主要訴求；而不同於「本土」，「抒情」帶有後遺民離散的暗示，在美學主張上則朝向「非模擬」開展，希望藉此挖掘寫實所未及、或未竟全功的理論潛能。不過即使如此，「抒情」與「本土」的關係不必然就非得是壁壘分明的對立不可；相反地，實際回到文學史料、文壇現場，不難發現「本土」和「抒情」的論述總已經彼此依存，差異明顯的此二者實處於相互闡發的互動之中。而本論文且在「本土」和「抒情」的彼此牽連中，辨識出一種「臺灣人」殊異的表述機制，一套獨屬「臺灣文學」的文體。若然，那麼關於「抒情」與「本土」的解釋就不應該拘泥於二元框架，轉而將它們並置反倒可以曝現對方世界觀認識不了的極限。循此，一個他我失去界限的無法區分地帶於是浮顯——它大可被視為一處讓所有臺灣文學的創作者與批評家都能自我表達，其個別的世界觀亦全可被申述的共通平臺——通過這個臨界點，某一足以供任何臺灣人自我、及其世界觀都在一起共享的共同體，也有了彰顯的可能。本論文援以為範例的作家包括王禎和、白先勇、朱天文、李喬、李渝、宋澤萊、邱妙津、張文環、郭松棻、楊牧、夏宇、舞鶴、齊邦媛、鄭清文與鍾理和等人，希望廣泛觸及戰後各個世代，與各種政治的、美學的立場；文類方面，除了小說、詩和散文之外，亦處理回憶錄、文學與藝術批評等材料，藉此期待對流行於戰後文學場域中的「抒情」和「本土」論述，有更周延而且全面的認識以及詮釋。

關鍵字

臺灣文學本土論；抒情傳統；身份（認同）政治；共同體；世界；模擬論；抒情風格

並列摘要

Post-war Taiwanese Literature has often been positioned on a Localist discourse or within the Lyrical tradition of Chinese literature. The historical perspectives and visions of these two configurations becomes the foundation of the study of “Taiwanese Literature,” and they are highly influential among writers and literary critics. The two configurations affect how one imagines a Taiwan literary community and approach questions such as “What is Taiwanese Literature?” and “What are the functions of Taiwanese Literature?” The Localist discourse and the Lyrical tradition provides two frames of reference which allow literary critics to make associations and analogies. In other words, the Localist discourse and the Lyrical tradition offers a mechanism that would enable Taiwanese to construct their own subjectivity and connect themselves with others and with the world. Therefore, with a focus on these two concepts, this dissertation attempts to reflect upon the discourse of “selfhood” and “community” in post-war Taiwanese literature, and to explore the connection between Taiwanese literature and the “world.” In short, the Localist discourse is tied to the identity politics in a post-colonial setting, and is oriented towards representing the world in accordance with mimetic realism. By contrast, the Lyrical tradition is often attached with a sense of post-loyalism which advocates an aesthetics of “non-mimesis” and seeks to explore the potentialities beyond a realistic account. Although the Localist discourse varies largely with the Lyrical tradition, the two configurations should not be regarded as a pair of binary opposites. Instead, the interactions between the two discourses reveal that they are interdependent to one and other and are mutually illuminating. Through a juxtaposition of the Lyrical tradition and the Localist discourse, the thresholds of the worldviews of both configurations are exposed and a zone of indistinction thus emerges. This zone of indistinction provides a platform for all Taiwanese authors to share their individual worldview, and the common act of expression through literature connects these writers as a community. This dissertation will examine writers and critics of different generations across a wide political and aesthetic spectrum active in post-war Taiwan. Apart from fiction, essay and poetry, this research will also incorporate other genres of writings including memoir, literary and art criticisms. Through an analysis of various writers with different political positions and texts composed in various genres, this research aims to provide a comprehensive understanding of the literary field of post-war Taiwanese literature.