五○年代的遷台女作家散文研究

許珮馨(Pei-Hsin Hsu)

指導教授 ： 柯慶明

國立臺灣師範大學/文學院/國文學系/博士(2005年)

摘要

論文摘要

本論文意圖爬梳從五○年代起遷台女作家群起浮現於戰後台灣文壇的社會背景與她們的集體創作呈現高度同質性的原因與特色，以及分析她們的創作與五四美文傳統的脈絡，並分析她們的創作在戰後台灣女性散文史上所扮演的重要位置與呈顯的歷史意義。本論文的研究架構共計分為六章，茲簡述本論文的章節架構：

第一章 緒論
本章旨在說明本論文研究所形成的問題意識與研究目的，以及界定論文的名稱，並為闡述本論文常使用的「閨秀散文」一詞的定義，再說明本論文所篩選的研究對象，並進一步說明章節架構與理論依據，最後梳理台灣五○年代散文史的研究概況和五○年代以降台灣女性散文史的研究展望。

第二章 遷台女作家五○年代筆墨登場的新舞台
本章旨在分析遷台女作家集體湧現五○年代台灣文壇的社會與文化背景。第一節首先分析五○年代的遷台女作家的「習性、氣質」（habitus）（知識養成背景、與出身的家世以及來台的社會位階），以及個別踏進入文人圈的經過。第二節分析五○年代官方文藝主導下的文學環境，探索當時五○年代充斥反共聲浪的文學生態何以容納「閨秀散文」生存空間的內在因素。第三節從文人集團的角度分析遷台女作家崛起五○年代文壇所屬的「文學勢力範圍」（台灣省婦女寫作協會）以及台灣省婦女寫作協會對鼓吹婦女創作所做的貢獻。第四節探討文人的行業與作品生產的關係，歸納這群遷台女作家在文人以外的編輯角色，並進而探討與文學創作息息相關的編輯副業，對她們攫取文化生產場域的空間有何影響，再分析文人同儕透過沙龍的文人聚會，彼此提攜協助，以形成陣容堅強的班底的過程。

第三章 移植五四美文傳統於台灣文藝新生地
本章旨在分析五○年代文壇的遷台女作家與五四美文傳統的淵源，第一節先論述這批遷台女作家在接受高等教育時，求學的地緣位置多是新文藝發展的重鎮，來談她們所身受的五四新文學風潮，再從她們的散文所自敘閱讀五四新文藝的經驗來佐證其與五四新文學之淵源，並分析她們所承繼的創作路數。第二節則從禁書的方向梳理五○年代女作家與五四新文學選擇性承傳的關係。第三節則以琦君、林海音、張秀亞、艾雯、鍾梅音等五○年代傑出的遷台女作家為研究取樣對象，爬梳她們的散文與五四文學研究會、新月社、語絲社的淵源。

第四章 閨秀散文的書寫主題
本章旨在分析五○年代的遷台女作家散文的創作主題，寫作範圍基本上不脫離懷鄉思親的主題以及書寫故宅新居遷徙的家庭主題，還有賢妻良母的經驗分享，讚詠天地之美、歷覽寶島風光、及環遊世界的旅行主題。第一節是天涯淪落的懷鄉散文，從呼喚親友的書信體散文，和描寫烽火連天的戰亂記憶、歌頌家鄉風物與佳節思親的抒情散文等來概括地論述懷鄉散文的內涵。第二節是以「離鄉背井╱落地生根的家庭散文」為題，探討女性特別喜歡書寫家居空間的特質，並從作品掘發出遷台女作家如何在台灣落地生根，將他鄉當作故鄉的心路歷程與集體書寫台籍女傭群像所呈現出來的省籍族群互動的變化過程。第三節則以「賢妻良母的教戰守策」為研究方向，分析女作家大量書寫相夫教子、經營婚姻、育兒技巧的短文的原因及此類散文的特色。第四節則以「立足寶島、放眼天下」的遊記小品為主題，分析她們書寫遷台初落腳新居的鄉土采風，以及歷覽台灣名勝的「新台灣紀行」和戒嚴時期稀有的海外見聞錄，探討其遊記內容與當時遊記寫作的共通現象。

第五章 各具風姿的閨秀散文
本章旨在深入理解五○年代的遷台女作家的文學成就與創作風格，故從遷台女作家中篩選出作品風格獨特，創作年資長，影響後輩深遠，且在五○年代深受佳評的女作家，對其創作予以完整的評論。將五○年代散文創作質與量均豐的張秀亞、琦君、艾雯、徐鍾珮、鍾梅音等作家列為研究對象，逐一探索分析每位作家的寫作生涯與遷台後創作的變遷，並針對作家的散文觀與作品實踐，關注的題材與寫作方向，探究每位作家獨特的創作風格。

第六章 結論
本章分為兩節，首先點明遷台女作家在散文上的貢獻主要是銜接五四新文學時期美文的傳統，然後在第一節以官方「國語政策」的角度分析遷台女作家在五○年代傳播以中文書寫的「白話散文」上所做的貢獻，並論述其在台灣文學史上的歷史定位。第二節則從五○年代文壇的遷台女作家所建立的美文傳統，來觀察這一支「閨秀散文」的美學主流在往後散文發展史上的傳承與變異的歷程，最後提出台灣女性散文史亟待開發的領域以及未來的研究展望。

關鍵字

閨秀散文 ； 五四文學傳統 ； 遷台女作家 ； 美文 ； 台灣五○年代 ； 國語政策 ； 文學研究會 ； 新月社 ； 台灣省婦女寫作協會 ； 文化生產場域

並列摘要

Abstract

This paper intended to put in order for the causes and characteristics of the female writers moved to Taiwan from mainland China sprouting up in the 1950s post-war Taiwan's literary arena with their social background and highly homogeneous collaborative creativity, and an analysis of their creations with May Fourth Movement belles-lettres traditional vein, and analysis the important position and historical significance of their creativity in the post-war Taiwan history of female prose. This research paper is divided into six chapters. Here are the summarizations of each chapter.
Chapter 1 Introduction
This paper aims to illustrate the question consciousness arisen from the research and the research goal, as well as the definition of the often used term "the female prose" in this paper. And then describes on the selection of research objects in this research paper, and further explains chapter structure and theory basis. Finally, combs out the current research profile of the prose history of Taiwan in 1950s and the future research prospects of Taiwan's female prose since 1950s.
Chapter 2 Female writers moved to Taiwan in 1950s went on stage inked new arena
This chapter seeks to analyze the social and culture backgrounds in 1950s Taiwan's literary arena that were crowded by the moved to Taiwan female writers. Section I analyzes the habitus of the female writers moved to Taiwan in 1950s (their knowledge incubated background, origin family background as well as to Taiwan's social position and status), and individual experiences into the literati circle. Section II analyses the literary environment leaded by the official literary arts in 1950s, and explores the underneath factors that tolerated the survival of “female prose” under the literature ecology flooded with anti-communism voices. Section III analyses from the perspective view of writer’s group to the female writers moved to Taiwan in 1950s raised to the literary arena which were belonged to the "literary spheres of influence" (Taiwan Province Association of Women Writing) as well as the contributions of Taiwan Province Association of Women Writing which promoted the creative writing of women. Section IV explores the writer’s profession and the writing production relationship, summed up these 1950s moved to Taiwan female writers in the outside literary editorial role, further to explore the editorial side occupation, which is closely linked with the literature creation, on what kind of influences for them to seize their own field of cultural production. Then, analysis how the writer associated through literati salon meeting, gathered mutual assistances, to the formation of a stronger writing team process.
Chapter 3 Transplant May 4th Movement belles-lettres tradition to the newborn Taiwan literary arts
This chapter seeks to analyze the provenance of the moved to Taiwan female writers back traced to the 54 belles-lettres tradition. Section I elaborates this batch of moved to Taiwan female writers when received their higher education, most of their studying geo-location are at the new literary development regions, discusses their experiences impacted by the 54 new literary wave, from these prose author's narration of reading 54 new literary works experience to support its evidence of 54 new literary provenance, and finally analyzes their creative style which they inherited. Section II takes from the banned books point of view, combs out the 1950s female writers and the 54 new literature selective inheritance relationships. Section III selects Chi Jun a.k.a. Pan Hsi-chen (琦君, 潘希真), Lin Hai-yin (林海音), Zhang Xiu-ya (張秀亞), Ai wen a.k.a. Xiong Kun-chen (艾雯, 熊崑珍), and Zhong Mei-yin (鍾梅音), those are the 1950s outstanding female writers moved to Taiwan as the research sample objects, combs out their prose and the provenance of 54 Literature Research Society, Crescent Society, and Language Silk Society.
Chapter 4 Female prose written subjects
This chapter seeks to analyze the moved to Taiwan female writers prose creative theme in 1950s. Their writing scope basically is not out of the range of mixed feeling of nostalgia and homesickness, family subjects of migration from former dwelling to new home settled abroad, experience sharing of being a good wife and loving mother, chanting the beauty of the world, the travel notes of the scenery of Taiwan and round the world. Section I is the prose of homesickness and nostalgia felt by expatriates, from calling relatives and friends of epistolary style prose, description of ceaseless war chaos from war memory, eulogizing the hometown scenery and remembrance of relatives in Festival of lyrical prose, to sum up the connotations of homesick and nostalgic prose. Section II uses "Relocate from former dwelling, Settle down permanently family prose" as a topic, explores the characteristics of women especially like to write their lives at home and the surrounding spaces, and digs out the changes from the works of these moved to Taiwan female writers on how they settled down to Taiwan, treats Taiwan as their own hometown, migrates process as their experience, and the collective writing of Taiwanese maids as a group portrait by ethnic origin interactive processes. Section III uses "Principle of being a good wife and loving mother" as the research direction, analyzes the reasons and characteristics of these female writers’ essays and prose that write massively on supporting husband and teaching children, marriage management, child care and nursling skills. Section IV uses "On Taiwan, At the world" short travel notes and essays as the subject, analyzes their writing on folklore of Taiwan at the very beginning of their moves to the new homes at Taiwan, and "The new Taiwan Travel Reports" of their visiting to the Taiwan famous landmarks and scenery spots, and rare seen and heard overseas knowledge during the martial law period, discusses its contents and then travel notes writing common phenomenon.
Chapter 5 Female prose with each graceful bearing
This chapter aims to provide an in-depth understanding of the moved to Taiwan female writers’ literary achievements and creative style in 1950s. It gives comprehensive comments to the selected moved to Taiwan female writers in 1950s with the following screening criteria: work style uniqueness, long creation period, far reaching impact on younger generation, and received good reputation in the 1950s. It lists those prose creative quality and quantity meet the criteria are Zhang Xiu-ya, Chi Jun, Ai Wen, Xu Zhong-pei, and Zhong Mei-yin of the 1950s female writers as research objects, by exploring and analyzing each writer’s writing career and changes after moved to Taiwan, and exploring each writer’s unique creative style on each writer’s prose view and the works in practice, concern topics and writing direction.
Chapter 6 Conclusions
This chapter is divided into two sections. At the first it points out that the contributions of the moved to Taiwan female prose writers in 1950s mainly linked up the 54 new literary period belles-lettres tradition, and then in the Section I from the official "National Language Policy (Mandarin Policy)" perspective view, analyzes the contributions of these moved to Taiwan female writers in the dissemination of Chinese writing "The Vernacular Prose", and on its historical position in the history of Taiwan literature. Section II from the belles-lettres tradition established by these moved to Taiwan female writers in 1950s to observe that this "female prose" esthetics mainstream in the subsequent inheritance and variations in the history of the development of the prose, and finally proposes the urgent need to be developed research areas of the Taiwan female prose history and the future research prospects.

並列關鍵字

The female prose ； 54 literature traditions ； moved to Taiwan female writers ； belles-lettres ； Taiwan in 1950s ； National Language Policy (Mandarin Policy) ； Literature Studies ； Crescent Society ； Taiwan Province of Women Writing Associations ； field of culture production