張彥勳及其文學研究

本文以「張彥勳及其文學研究」為題，試圖透過對作家史料與文本的梳整，以脈絡化的方式呈現其生命史與文學歷程的全貌。在重構其生命史與文學史脈絡的同時也將重新檢視其文學作品的特質，以其創作的表現重新呈現其現代詩、小說等文類之間的關聯性，期待以全面性的視角建立起張彥勳一生的文學創作之路，並藉以展現一名肉體與精神皆經歷重重苦難的老作家，如何一再於文壇中掙扎奮鬥，表現出他對文學的熱情與執著。綜觀目前對張彥勳的研究，少有對其生命史與創作歷程進行全面性檢視與梳整的專論，為了對作家及其作品進行完整的脈絡性研究，本文的研究目標為對張彥勳三個不同時期的文學活動進行縱向整理與分析，並討論其作品中重要的題材與文學表現。在本文中的三個主要章節中將分別以40年代、60至70年代以及80至90年代這三個時期作家的文學活動為焦點，討論其不同時期所呈現出的文學風貌。第二章從他在台中一中在學期間創辦的文藝同好會「銀鈴會」的活動做為開端，討論他領導該會在戰後初期成為中北部活躍的文藝組織的過程，並探討其當時浪漫與寫實並進的文學表現。第三章則從作家在50年代受到語言與政治的雙重考驗之下仍努力不懈地克服困境，在1959年以中文重回文壇之後的二十年之間留下了上百篇文學作品的經歷，並探討他在這個時期龐大的文學表現中，於不同發表場域中展現出的對各式題材的關注，並探討這些不同題材的作品之中反映出了他什麼樣的文學特色。第四章所欲呈現的則是80年代的作家在臺灣主體意識崛起的浪潮中如何呼應本土文藝社群的精神，以鄉土寫實的風格先後回到了一般小說及現代詩創作的行列之中，並在40年代浪漫與現實並陳的精神之下，在其創作生命的晚期再次展現的一段高潮。

關鍵字

張彥勳；作家研究；生命史；小說；現代詩

並列摘要

This thesis attempts to contextualize Yan-Xun Zhang’s life and his literary history by examining the intertwinement of his historical records and works. With an ambition to provide a comprehensive perspective to Zhang’s literary life, this thesis will also discuss the relationship between Zhang’s poetry and novel by re-examining the characteristics of Zhang’s literary works. Looking at the past research on Yan-Xun Zhang, there are only a few monographs on the comprehensive review of his life history and literary process. Thus, the research goal of this thesis is to arrange and analyze Zhang's literary activities in three different periods and to discuss the important subjects and literary expression in his works. The three main chapters of this thesis will be divided by Zhang’s literary activities in the three periods: the 1940s, the 1960s to the 1970s, and the 1980s to the 1990s; each chapter will also focus on Zhang’s literary style and expression performed in different periods. The second chapter of this thesis begins with the activities of the "Yin-Lin Association." Discussing the process of leading the association to become an active literary organization in the northern and central Taiwan in 1945-1949, this chapter will examine Zhang’s romantic yet realistic literary performance at that time. Under the language and political struggle in the 1950s, Zhang left hundreds of works written in Chinese during the 1960s to the 1970s. The third chapter thus focuses on Zhang’s attention to various subjects after he returned to the literary world in 1959 and explores his literary expression reflected in his works. Last, the fourth chapter illustrates how Zhang echoed the spirit of the local literary and artistic community during the rise of Taiwanese identity in the 1980s. With the spirit of romance and realism cultivated in the 1940s, Zhang returned to the ranks of novelists and poets as a domestic realism writer and once again reached a new peak of his creative life.