作為一種文化／文學生產場的「客廳」：論林海音、朱西甯的「佔位」空間

戰後臺灣，甫脫離日本殖民統治，隨後又被流亡的民國政府接收，同時在國際情勢下被納進冷戰體系；本文嘗試以此特殊的文學場域為基底，觀察同樣身為一九四九年前後花果飄零來臺的第一代文人群體，林海音與朱西甯在五○年代到七○年代場域中的「佔位」。二人同樣身兼作家、編輯、出版人與文學獎評審等多重身分，在文學場域中受益於主導文化有著相似的位置與文化資本，且同樣在各自的「文學客廳」中聚集了一大群知名的文化菁英，影響了當時及後來的文學版圖。本文以戰後臺灣複雜的文學場域作為觀察視角切入，分別聚焦於林海音主掌「聯副」與「純文學」時期，深描出「林海音家的客廳是半個臺灣文壇」的人脈關係網路；朱西甯家的客廳則承接六○年代林海音家的客廳迎來七○年代臺灣的本土化浪潮，因「軍中作家」的身分與官方文藝系統的交匯，使來客群有所分別，其後又因緣擴大成「朱家班」。兩個客廳分別對應不同的民國狀態與文學思潮，藉由重建當時的「林海音家客廳」和「朱家客廳」，討論「客廳」如何成為一種「文化／文學生產場」，及其中「位置」與相應文壇生態的互動關係。

關鍵字

文學場域；林海音；朱西甯；位置；文學客廳

並列摘要

After the war, Taiwan, once free from Japanese colonial rule, was then taken over by the Republic of China government in exile, and at the same time was incorporated into the Cold War system under international circumstances. This paper attempts to use this special literary field as a base to observe the "Positions" of Lin Hai-yin and Chu Hsi-Ning in the field from the 1950s to the 1970s, who were also members of the first generation of literary groups that came to Taiwan around 1949. Both are writers, editors, publishers and literary award jurors, with similar positions and cultural capital, benefiting from the dominant culture in the literary field. They also gathered in their "literary living Room" a large number of well-known cultural elites, who influenced the literary landscape of that time and later. The two living rooms correspond to different states and literary trends of the Republic. By reconstructing the "Lin Hai-yin's Living Room" and the "Chu Hsi-Ning's Living Room", this paper attempts to discuss how the "Living Room" has become a "Cultural and Literary Field" and the interaction between "Positions" and the corresponding literary ecology.