一九四九年前後大陸遷臺作家的故土想象

一九四九年作為重要的時間節點被歷史銘記，該時間前後隨國民政府撤退臺灣的各界人士共同構成這一多面化文化遷徙現象的深刻內蘊，隨軍輾轉遷臺的作家群體及其寫作作為這一文化現象重要組成部分，一直以來卻在兩岸學界的研究視閾邊緣尷尬徘徊。遷臺作家作為浸染大陸五四文學傳統的外省人，在五十年代的島嶼異鄉佔據了文學話語權，儘管在事實上為臺灣本土文學加速復蘇而助力，仍被本土作家視為大陸文化侵略與威脅的重要表現。本文主要以一九四九年前後大陸遷臺作家為關注對象，以文學家在作品中對故土的想像重建為線索，探討這一文化遷徙過程中的作家群體在文學作品中的懷鄉敘事寫作範式，嘗試重新尋找大陸遷臺作家及其文學創作的文學史價值。本研究第一部分以遷臺作家群體的顯性故土想像書寫為闡釋基礎，結合姜貴、陳紀瀅、王藍、田原等不同身份作家的差異性小說散文創作，從作家遷臺原鄉失落帶來的心理斷層、想像故土的情感性重建危機、作家主體的文化認同與歸屬選擇等幾個面向切入，觸摸故鄉的失落與重建過程中作家心態的流變脈動，以期在普遍意義上勾描遷臺作家懷鄉敘事群像。在此基礎上，本研究的第二、三部分進一步追問不能被普遍意義的表層懷鄉書寫所統攝的深層隱性懷鄉敘事模式，從遷臺作家同一作品在不同時期不同版本中的修改情況入手，尋找這種隱性懷鄉在長期以來被學者和作家遮蔽的狀態下，是如何發展其內部結構的。在遷臺作家隱性懷鄉敘事的深層結構中，筆者發現因赴臺前後作家身份與文學創作成熟情況差異而呈現出兩種不同的故土重塑方式，一是在赴臺之前已經以成熟作家身份在大陸文壇享有相當影響力的作家，在大陸經驗被臺灣化的作品修改過程中，表現為真實家國體驗與想像故土的融合，因此在本研究的第二部分中筆者以女兵作家謝冰瑩及其自傳性回憶散文《女兵自傳》為主要研究對象來探討此種故土想像方式；二是在去臺之後纔正式開始進行文學創作的作家，在臺灣進行想像故土的在地化寫作過程中，在修訂作品的時候流露出對故土的再度想像性重塑，因此在本研究的第三部分中筆者以作家潘人木及其帶有「反共」色彩的長篇小說《蓮漪表妹》為主要研究對象來探求此種故土想像方式。筆者試圖通過前述努力，在研究中建構顯性與隱性懷鄉敘事模式的交互參照，觸摸根植於遷臺作家群體精神深處的普遍焦慮，展現1949年前後大陸遷臺作家群體對於故土的想像性建構的複雜面向，最終指向重新考量和反思這一文化群體和文化現象被兩岸學界意識形態化研究眼光所遮蔽的文學史價值。

關鍵字

一九四九；遷臺作家；故土想象；懷鄉書寫

並列摘要

1949 was remembered as vital time node, and this year people from all walks of life with the retreat of national government form the profound connotation of cultural migration. As an important part of this cultural phenomenon, the writer groups who moved to Taiwan and their writing has been on the edge of the cross-strait academic research perspective. Move-to-Taiwan writers as mainlanders having May Fourth literary tradition occupied the literary discourse in the 50th in Taiwan. While in fact to speed the recovery of Taiwan local literature, this writers group is still being considered by native writers as important expression of the mainland culture aggression and threats. Coming back to mainland academic circles, this cultural group has been regarded as having the suspicion of "anti-communist" because of its living space narrowed in Taiwan island, resulting in difficult to get a fair evaluation under the ideologically-driven literature view. This article mainly focus on the writers who moved to Taiwan around 1949, with a clue about the writers’ imaginational reconstruction of homeland, discussing the narrative mode in the works created by this writer groups during the process of this cultural migration, trying to find the significance in Chinese literature history of the writers who moved to Taiwan and their literary creation. As the foundation of dissertation, the first part of this study concentrates on the dominant homeland imaginative writing by move-to-Taiwan writer groups, combining with writers such as Jiang gui, Chen Jiying, Wang lan, Tian yuan, etc. This part of study has various aspects, for instance, the psychological fault for the lost homeland, the crisis of imaginational reconstruction of homeland, the writers’ cultural identity, etc, aiming at touching the writers’ mentality in the process of loss and reconstruction of homeland, in order to describe the homesickness narrative mode of the writers who moved to Taiwan in common sense. On this basis of the first part, the second and third part of this study focus on the deep hidden homesickness narrative pattern. Starting from the additions and deletions of the same works in different versions written by the move-to-Taiwan writers in different periods, this study try to find the hidden homesickness narration covered by scholars and writers their own is how to develop its internal structure. The deep structure of homesickness narrative pattern appears to have two different imaginational mode because of the writers’ diversity, one is the integration of real experience about the past years and the imagination of their home countries, writtern by the writers who had to be mature as a writer in Mainland China. The second part of this study take the female writer Xie Bingying and her autobiographical memory prose "Female Autobiography" as the main research object to explore this imaginational mode. The other one is the intergration of imagination and re-imagination of their homeland, writtern by the writers whose authorial identity started to appear after they moved to Taiwan. The third part of this study take the writer Pan Renmu and her "anti-communist" novel "Lian Yi Cousin" as the main research object to explore this imaginational mode. Through the efforts mentioned earlier, this study try to construct the dominant and hidden homesickness narrative pattern, touching the general anxiety deep rooted in the move-to-Taiwan writers’ spirit world. Based on the dominant homesickness narration, this study try to deal with the implicit homesickness narration through the additions and deletions of the literary works created by the move-to-Taiwan writers’ own. The key problem to tackle is the writer's homeland imagination writing hiden in the deep structure of implicit homesickness narrative pattern. What need to be further excavated is the complexity of the imaginary construction of homeland written by the writers who moved to Taiwan around 1949. Eventually, this study points to rethink and reflect this cultural community and cultural phenomenon, illustrating their literature value covered by the oversea and mainland academic circles.