當代漢語文學「西藏圖象」的建構與演變

Construction and Development of "Tibet Image" in Contemporary Chinese Literature

張凱婷(Chang , Kai Ting)

指導教授 ： 陳大為

國立臺北大學/人文學院/中國文學系/碩士(2014年)

摘要

當代西藏圖象擁有諸多面向，「西藏」宛如一個可以無限擴充字義的形容詞――「藏傳佛教的」、「香巴拉淨土的」、「神秘的」、「旅人心靈故鄉的」、「浪漫的」、「人權爭議的」……等等讓中西方各界學者魂牽夢縈，本論文試圖在有關於當代西藏漢語寫作的小說、散文、詩歌中為各類有關於西藏圖象的建構及其演變作出詮釋，藉此貼近藏人心靈，以達到文學之於時代的美學意義。
自一九五一年中華人民共產黨率領「金珠瑪米」「和平」解放西藏、一九五九年十四世達賴喇嘛出走印度達蘭薩拉、緊接著到來的一九六六到一九七六的文化大革命以來，連串變革讓舊西藏勢力徹體瓦解，西藏終於成為「中國領土不可分割的一部分」。這六十多年來由特殊時代所帶來的歷史變遷，大大改變了藏人的心靈景觀。「西藏」以藏傳佛教的信仰和文化構成藏人之所以是「藏人」的主體，但舊西藏賴以維繫文化的政教雙持制度已然瓦解，宗教領袖達賴喇嘛亦遠走他鄉，留在藏區的藏人心靈除了無以依歸外，還面臨了自一九七八年十二月改革開放以來，更為大量的現代性入侵，現代化生活和資本主義市場經濟再一次分解了藏人原本平靜的農耕生活。
在現代美好的「新中國」、「建立新西藏」願景下，大量的農牧區藏人湧入都市求生，改變了自己的外貌裝扮以追求和都市人一樣舒適的生活，甚至是迫生活所逼而離開了藏語。而過往自一九五一年到一九八O年以前大量變革，對藏人所造成的心靈磨難卻如同傳統文化無以為繼般被掩蓋蒙塵。
面對藏族心靈景觀這樣的困惑與千瘡百孔，以文學為人文深度主體，自馬原（1953-）於一九八四年發表的短篇小說〈拉薩河女神〉，止於次仁羅布（1965-）在二Ｏ一一年出版的小說集《界》，討論內容從文學到非文學，時間跨度為二十七年。
當代西藏漢語作家結合了拉美魔幻寫實主義，在不經意之間實驗磨合出專屬於西藏的「藏傳魔幻寫實主義」創作小說手法，以扎西達娃為首探討了西藏的宗教瓦解後，藏人的文化該何去何從的擔憂，再以藏傳魔幻寫實主義結合新歷史小說的概念，試圖為以往皆以中、英國為主體撰西藏史的西藏寫下「無史之史」；生於四川阿壩藏區的阿來，則試圖以藏人宗教文化其實另有淵源以久的「苯教」、並以反轉自古西藏文化中心為拉薩的方式，以自身所在阿壩站穩步伐，要為長久以來在「神」下太久面目模糊的藏人，重新以「人」的姿態立身，充滿了知識分子的人文批判精神。
柴春芽更以濃化藏傳魔幻寫實主義的方式，呼應了拉美魔幻寫實誕生的精神――對政治的強烈批判，以極富寓言性質的藏傳魔幻寫實主義小說對西藏文革期間所遭遇的文化劫難作強烈的批判，言辭之間更多的是對中共至今仍對自由言論打壓的不滿。
接著以散文和詩歌等形塑出「走入現實西藏的三條道路」，其一為當代西藏漢語小說離開了藏傳魔幻寫實主義路線後，回歸本來面目的小說創作，以突出重圍的新一代大家次仁羅布為主。其二為大量充滿「藏味兒」的散文為主，這類散文以譜系的方式介紹藏族風俗文化充滿可看性，介紹作家以藏族塔珍、格央、白瑪娜珍與和漢族作家凌仕江為主，其中在介紹以藏傳佛教為文化核心時，亦加入了詩人嘎代才讓與西娃的詩歌，以詩核突顯界詩歌語言無限飛翔的藏魂。
其三則為在那些美好神秘的西藏以外真實的社會面相，被掩蓋的文化大革命真相以勇敢的人權作家唯色為主；藏族目前雙語教育所面臨的文化困境與牧區的教育問題則以白瑪娜珍的散文和江覺遲的自傳性小說為主深入剖析。
以多樣的文體和各個作家不同的人文關懷面象，運用了自身即擁有豐富文學素材的「西藏」，在西藏圖象如壇城般的建構及其演變中，深掘出屬於當代西藏人獨特的心靈樣貌。

關鍵字

當代西藏漢語寫作 ； 藏傳魔幻寫實主義 ； 西藏圖象

並列摘要

Tibet Image in Contemporary like a adjective has a lot of meanings――” Tibetan Buddhism”,” Mysterious” , ”The hometown of traveler’s mind ”, ” Romantic”, ” Human rights issues”…… let so many scholars concerned about it. For close to the Spirit of Tibetan, touch the the aesthetics spirit of the age in literature, we try to explain the writing in the contemporary Chinese of Tibet.
Since “The People's Republic of China” to rule the Tibet in 1951, 14th Dalai Lama escapes to India in 1959,and Cultural Revolution (1966-1976),all of the big changes finally collapsed the powers of the old Tibetan government, ultimately becomes” Tibet is an inalienable part of the inviolable territory of China.”
As times change, although ” Tibetan Buddhism” and “Tibetan culture” to construct the
Subject of Tibetan, but to maintain the past Tibetan culture’s old Tibetan government just disappeard.
Now, Tibetan must face to two a difficult positions. Once of is the Tibetan religious leader――14th Dalai Lama escapes to India in 1959; another is “modernity” and “contemporary life ” comes from the “The reform and open - up policy”(1978.12).
The two a difficult positions let the Tibetan’ life quickly leaving the Agricultural era go to the Industry era.
A lot of country Tibetan has changed their outlook and leaving their hometown to get into the big city――under the beautiful slogan: ”New China ”and ” construction the New Tibet ”. For wanted better life, they abandon to learn the tradition Tibetan language, because learn the Chinese language is more easy to find the job in the big city. Is meanings, Tibetan abandond their culture.
The times changes brings hurt to Tibetan’mind. So we try to comment and explain the "Tibet Image" in Contemporary Chinese Literature, because we want to saw the real Tibetan’s soul.
The literary works spanning twenty-seven years starts from the short fiction in Ma Yuan(1953-):”The Goddess of Lhasa River”(1984) to the collection of short fictions in ci ren luo bu(1965-):”The Boundary”(2011).
The writing in the contemporary Chinese of Tibet combine with Latin America magic realism, by accident variation into “Magical Realism of Tibet”. The writer test to base on the” Magical Realism of Tibet ” created the new “ The writing in the contemporary Chinese of Tibet ” style.
In the first, zha xi da wa think about what’s is the future about the Tibetan without their belief, and then combine with “Magical Realism of Tibet” and “ New Historicism ”, try to stand by the Tibet write down the real history.
In the second, A Lai born into the A Ba , where is in Si Chuan. He stand on the A Ba , where is in Si Chuan. There’s local belief is “Bonismo”, it’s very different form Lhasa(place of origin Tibetan Buddhism). A Lai wanted to let the Tibetan from the “a believer” to “human”―― far away from the religion, discover the nature of Tibetan. A Lai ‘ s speech is full of learned person spirit.
Chai Chun Ya strengthen the “Magical Realism of Tibet” to respond to the original spirit from “Magical Realism”. His novel full of political critique, so that his stories like a political fable.
Finally, we used an essay and poem together to build ” three roads to enter the real Tibet”.
The first one is Ci Ren Luo Bu. Who give up the “Magical Realism of Tibet”, come back to the nature of fiction. The next is the essay some full of Tibetan character. The essay writers are Ta Zhen, Ge Yang, Bai Ma Na Zhen and Ling Shi Jiang. The poets are Ga Dai Cai Rang and Xi Wa(Shiva).
The third is a real world of Tibetan society. The writers are Wei Se, Bai Ma Na Zhen and Jiang Jue Chi.
Wei Se , who is written the “Cultural Revolution (1966-1976)”, she is a brave girl, gainst the Chinese rulers. Bai Ma Na Zhen, who is written the country Tibetan in the Lhasa. Jiang Jue Chi, who is written the Tibetan education struggle in the disadvantaged child.
“Tibetan culture” like a mineral ore it has a lot of treasure. so, we used that culture character find the humanities in literature. Construction and Development of "Tibet Image" in Contemporary Chinese Literature.

並列關鍵字

Magical Realism of Tibet ； Contemporary Chinese Writing in Tibet ； Tibet Image

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