一種文體的完成? --試探黃國峻的小說文體

A literary style newly-formed? -- A Study of Huang Guo-jun's novel style

李文傳(Man-Chin Lee)

指導教授 ： 柯慶明

國立臺灣大學/文學院/中國文學研究所/碩士(2011年)

https://doi.org/10.6342/NTU.2011.02342

摘要

20世紀90年代是台灣文學百花爭妍的年代，隨著解嚴而開展了王德威所說的「眾聲喧嘩」的時代。在90年代末，出現了一股被稱為「不與時人彈同調」的清流──黃國峻，在20世紀的千禧年，他的首部小說集《度外》出版。然而在2003年6月，黃國峻在家自縊身亡。 在匆匆五、六年早夭的作家生涯中，又為這一代文學留下了什麼？

這是一篇討論黃國峻小說的論文，也是一篇思考文體的論文。最早提出黃國峻的小說為一種文體的，是他參加聯合文學新人獎時的評審黃碧端，稱之為「翻譯體」。直到黃國峻逝世以後，楊牧寫了一封信給許悔之，其中提及黃國峻的文字風格已經出現文體。如果我們承認文體並非一蹴而就的，如果我們相信文體是從無到有再慢慢成熟完成的，那麼，縱向地探究黃國峻的小說創作史，是勾勒黃國峻寫出一種文體的必要途徑。如果我們接受文體並非一種新形式的實驗成功而已，如果我們認同新文體是一種文學內爆，以掙扎、擴張出更大的空間來負荷新的內涵、新的意義，那麼在黃國峻各階段作品中抓出其中深度，便是對他是否寫出了文體的檢視。

雖然《聯合文學》在黃國峻逝世後的專輯上揚言要出版他的紀念集，裡面相信將包含專輯中梁竣瓘編的遺作目錄作品，但是時至今日仍未見影蹤，所以文本就黃國峻已經出版的五本書，主要是四部小說集為研究範圍。

閱讀黃國峻作品，必會注意到其中時間的亂序、零碎，而且更被這樣破碎亂序的時間擾亂閱讀，甚至多有誤會。於黃國峻而言，時間的意義並非在自然的時間流中呈現，而是將它碎散後，再後設拼湊成意義的段落。這樣的霎時光景定格，除了是將時間空間化之外，也是用時間將空間切成片面。空間的意義，是身體與空間的互動互感，通過身體來完成的。這是黃國峻對空間的嘆詠。然而他並無意將意義確立下來，他通過留白營造豐沛激昂如雨般的多重意義，供讀者的想像參與。

疏離，所以總有更進一步的餘地，總有可被介入的罅隙。黃國峻從一開始的抽離到企圖以反介入的一抹留白來表態他的介入，及至後來縱身投入，依憑介入來凸顯原來關係中被漠視的罅隙，促進反省思考。黃國峻所以能寫出疏離的創作、留白的景觀，是因為他在度外。只是黃國峻的度外，並非一個旁觀者，而是再更後退的窺視者，不是鏡頭的機械式觀點，而是鏡頭後面的有情之眼。他形容自己的寫作像在滿佈石頭的河流上過河，而他終於能跳出他風姿綽約，最精彩也最獨特的文字舞姿便是他的文字蒙太奇。

黃國峻的文字蒙太奇除了呈現電影畫面感的剪接拼貼外，更是把每一個景觀以情韻相通為軸，藉蒙太奇的邏輯將這些景觀結構起來，形成特殊的意義段落，塑造一種作意讓渡給文字的流勢。當一個個帶著留白被定格下來的片刻真實，經由疏離與介入的進退而成為一幕幕的景觀，由度外的黃國峻編織成一段段、一篇篇的文字蒙太奇，刻劃了人世間的慾望與慾望的過程，以及慾望的可得不可得都終究孤獨。然而於此，黃國峻給了生命一個流瀉的洞口，正是生命紛雜色彩的留白，頓悟的片刻。是所有過去與所有未來的匯聚點，所以沒有過去沒有未來，沒有開始沒有結束，卻是一切始末的片刻真實。此時，萬物淨空，獨獨有情。

四章分別討論四部作品下來，看到黃國峻從一開始就用一種冷靜的度外視角，疏離的留白姿態為自己的作品定調，這樣的基調帶到了他要寫故事的第二部小說集，在幻真虛實之間爆發出了濃重的寓言色彩。到了第三部作品帶入了一些脫口秀的語句讓他的小說變得有點突兀，但是也是在這時期他小說中的翻譯句式變得流利，而小說的思想也更為深沉。最後的未完成遺作《水門的洞口》可說是最接近他文體完成之作，這部故事明確，寓意深沉的作品，雖然沒有洋名沒有不知的時空背景，流利的翻譯句式也幾乎要讓人察覺不到，但是其冷靜的度外視角，配搭著內容的疏離文筆，還有成熟地運用文字蒙太奇，可說是他文體成形的一個重要徵象。

經過論文的四章，顯示黃國峻從高度風格化的《度外》到最後的遺作《水門的洞口》已經建立了一種文體。然而這種文體顯然不是「翻譯體」可以一語道盡的，歐化語言或洋名等值是一種表達方式，其濃淡或顯著與否，並不決定了黃國峻文體的存亡。然而《水門的洞口》還只是一種青澀的文體，所以黃國峻是否是一個文體家或許難斷言，但能寫出一種文體卻必須被肯定。

關鍵字

黃國峻 ； 文體 ； 度外 ； 盲目地注視 ； 是或一點也不 ； 水門的洞口

並列摘要

The Taiwanese literary scene witnessed a booming era in the 90s of the last century , as David Ter-Wei Wang termed “The resonance of many voices”, following the lift of the Martial ban. Towards the end of the decade, there emerged a distinctive name on the writing scene, Huang Guo-jun, acclaimed to be “singing a different tune from that of contemporaries”. In 2000, his first short story collection Du Wai was published. However, Huang committed suicide by hanging in his home. In the short span of a few years, what legacy has Huang Guo-jun left for the Taiwan literary scene?

The earliest person to classify Huang’s novels as a new literary style was Huang Bi-duan，one of the judges of the Unitas Award for New Novelists which Huang entered. Huang Bi-duan had termed that Fanyi Ti. After Huang Guo-jun’s demise, in a letter to Xu Hui-zhi，Yang Mu mentioned that a new literary style had emerged from Huang Guo-jun’s writing. In literary history, very few have been credited with the creation of a new literary style and therefore, it is the intent of this thesis to understand how Huang Guo-jun was worthy of such an honor.

Although Unitas Literary Monthly announced plans to publish Huang Guo-jun’s commemorative collection and the magazine’s Special for that issue carried a list of Huang Guo-jun’s unpublished works, the proposed commemorative collection has yet to be seen. This thesis, therefore, bases the discussion on the 5 books already published by Huang, concentrating mainly on the 4 novels. Having drawn reference from a selection of critiques and academic theses of Huang’s works, this thesis employs the strategy of analysing one book per chapter, with the hope of mapping Huang Guo-jun’s writing history by a two-pronged approach: One, combing through his literary achievements; two, detailing the shifts of change in his writing. This thesis engages close reading and analysis of Huang Guo-jun’s works as its main tools, avoiding as far as possible the use of literary theories for discussion, with the exception of using Walter Benjamin in chapter three to conduct a dialogue with Huang.

As the discussion of Huang Guo-jun’s four collections unfold, one can see Huang’s aloof stance right from the beginning, setting a detached tone for his writing, a tone which carried over to his second book, showing strong allegorical flavors between realism and fictionalization. The infusion of some “talk show” elements caused a jerk in style in his third work, however, during this period, his trademark sentencing style gained fluency and his stories carried deeper meanings. His final unfinished work Shui men de dong kou can be considered the work closest to his intended literary style, having a clear plot and strong allegorical meaning. Huang’s trademark detachedness in writing, coupled with skilled manipulation of broken time, created a montage of words and an important characteristic of his writing style.

However, although Huang Guo-jun’s literary style may now be seen, it has still reached full maturity. while showing its potential. If literary style were an ongoing process , has Huang Guo-jun completed the development of his literary style? In such cicumstances where no definitive answer is in sight, can Huang Guo-jun be termed a “literary stylist”?

並列關鍵字

Huang Guo-jun ； style ； Du Wai ； Blindness Gaze ； Yes or Not at all ； Shui men de dong kou

參考文獻

7. 李奭學，《經史子集－－翻譯、文學與文化劄記》（台北：聯合文學，2005）

2. 劉淑貞，《肉與字：九○年代後小說中的死亡與自殺書寫－－以張大春、駱以軍、邱妙津、黃國峻為考察對象》（台北：政治大學中文系碩士論文，陳芳明先生指導，2008）

一、 Fredric Jameson , Brecht and Method (NY: Verso, 2000）.

三、 Patricia Waugh, Metafiction: the Theory and Practice of Self-Conscious Fiction (London & NY: Methuen, 1984).

四、 Walter Benjamin, trans. by John Osborne, The Origin of German Tragic Drama (London: Verso, 1990).