馬華旅臺作家的原鄉書寫研究（1976-2010）

The Research of Homeland Writing for Malaysian Chinese Writers in Taiwan. （1976-2010）

張馨函(Hsin-Han Chang)

指導教授 ： 陳大為

國立臺北大學/人文學院/中國文學系/碩士(2012年)

摘要

馬華旅臺文學作為原鄉書寫的經典釋例，奠基於旅臺文學的構成──旅臺者對「（中華）文化母體」的嚮往或追求，成了部分留學臺灣的動力。那些難以動搖的重量級「大馬生命原鄉」的認同或歸屬，深刻影響他們在旅居地的文化或自我接受狀態。「臺灣（華文）文學母體」養成旅臺者的文學生命，這時他們體驗最深也最為熟稔的原鄉題材，往往成為文學實驗室的第一批實驗對象。然而隨著旅居時間的增長，臺灣文學環境逐漸將旅臺者的文學技巧焠鍊得更為圓熟之時，原鄉經歷已沉澱發酵成更有風味的文學素材，此時的原鄉書寫是向大馬原鄉與臺灣文學養成的致敬之作，亦是個人代表作。
原鄉書寫因此不可避免地涉及多維度空間與多指向性時間的彼此對話與互涉問題。在時空的變遷下，旅臺創作者以記憶保留卅提取個人化的原鄉經歷軌跡，這趟高度自主化的心靈時光旅程，表現在創作上即為自傳體的原鄉書寫。自傳體、家族史、歷史書寫都是旅臺原鄉文學所偏好的表現形式，一旦原鄉素材耗竭，原鄉落入制式化的樣板書寫時，轉型以求生存就成為馬華旅臺創作者必經之路。況且，原鄉書寫與人生歷練相結合，創作者的內在心靈試煉階段會在很大的程度上影響原鄉書寫的成果。
文本的時間跨度三十餘載，起始點為李永平的短篇小說集《拉子婦》（1976），終止於李永平的長篇原鄉小說《大河盡頭（下卷）》（2010）。其中包括：商晚筠不斷召喚自我的華玲鎮咒、李永平一手打造的吉陵幻象及其溯返婆羅洲的身世追尋、張貴興氣勢磅礡的雨林家族史詩、潘雨桐神秘的河岸傳說、鍾怡雯的島嶼紀事和油棕歲月、黃錦樹如烏暗暝的膠林卷宗、辛金順初步營造的白沙舊事、張草的移民史略。這些旅臺作家以出色的技巧錘煉原鄉形象，其創作意圖、母題的歷時性演變、原鄉藝術形式展現，都是本論文探討的重點。

關鍵字

原鄉書寫 ； 馬華旅臺文學 ； 自傳體 ； 家族史

並列摘要

As the classical exemplification of homeland writing, the Malaysian Chinese Literature in Taiwan is based on the configuration of ──the love or pursue of Malaysian Chinese writers in Taiwan to the “(Chinese) Cultural Matrix” has become part of the motives for studying in Taiwan. The heavy and incorruptible identity or attribution to " Life Homeland in Malaysia" has profoundly influenced their acceptant attitude toward themselves and the culture of sojourn space. When the "Matrix of Taiwan Literature" has developed the literary life for Malaysian Chinese writers in Taiwan, their most experienced and familiar homeland topics usually turn to the priority in the literary laboratory. However, as they sojourned longer, their skills were promoted gradually in the literary field in Taiwan, and then their homeland experiences were be refined into flavored literary materials. That was when the homeland writings were not only the tributes to their homeland in Malaysia and in Taiwan Literature but also individual masterpieces.
Inevitably, homeland writing therefore involves in the mutual dialogue and inter-related issues of multi-dimensional space and multi-directional time. As time and space change, the highly independent spiritual journey where Malaysian Chinese writers in Taiwan retain/withdrawal their personal tracks of homeland experience is presented on the creation of autobiographical homeland writing. Autobiography, family history, and history writing were be the preferred manifestations in homeland writing in Malaysian Chinese Literature in Taiwan . Once the homeland topics exhausted and the homeland writing struggled in regularized template writing, the transformation was necessary for the survival for Malaysian Chinese writers in Taiwan. Moreover, as the homeland writing is combined with life experience, the outcome of the homeland writing may be greatly influenced by the writers' inner spiritual status.
The literary works spanning more than thirty years starts from Yung-Ping Li's " A Dayak Woman" (1976) and ends at Li Yung Ping's " The End of the River (Volume II : the Mountains) " (2010). In between there are: The Curse of Baling where Wan-Yun Shang constantly summoned herself, the illusion of Jiling built bare-handed by Yung-Ping Li and his background search traced back in Borneo, the magnificent rainforest family epic created by Kwei-Hsing Chang, mysterious river-bank legends told by Yu-Tong Pan, island chronicles and years of pamol estate by Yee-Voon Choong, dark-as-night file in rubber estate written by Kim-Chew Ng, Pasir Puteh folk stories initially created by Kim-Soon Sen, and brief history of immigrants by Chao Chang. These Malaysian Chinese writers in Taiwan tempered their homeland images by excellent skills. Their writing intentions, diachronic evolution of motifs, and the presence of homeland artistic forms are the focuses of this thesis.

並列關鍵字

Homeland Writing ； Malaysian Chinese Literature in Taiwan ； autobiographical ； family history

參考文獻

列維•斯特勞斯著，王志明譯《憂鬱的熱帶》（北京：三聯書店，2000）

李永平《吉陵春秋》（臺北：洪範，1986）

李永平《朱鴒漫遊仙境》（臺北：聯合，1998）

李永平《拉子婦》（臺北：華新，1976）

李永平《海東青》（臺北：聯合文學，1992）