在墨痕筆跡之外－談文學博物館的手稿展覽

手稿是文學創作過程中的產物，可以反映作家創作時的真實思維歷程。換句話說，具創作過程思維歷程的手寫稿，其真實性是無庸置疑的。在華文社會裡，長久以來手寫文字一直具有特殊意義與價值，手寫文字甚至可以視為作家的視覺作品。只是當創作過程中，電腦操作逐漸取代手寫文字，文學博物館必須思量手稿是否仍為必要的展覽項目。當手稿不可得時，文學博物館若仍拘泥於手稿展覽之必要，進而請求作家就其已付梓作品另外謄寫部分文字於稿紙上，以手稿之貌呈現於觀眾面前，因而誤導觀眾以為該作家仍以手寫文字從事創作，並且混淆了手稿的真實性。文學博物館的展覽其實可以就文本內容加以發揮，手稿展覽絕對不是唯一的選項。就典藏文物求真的角度而言，再書寫不能視之為手稿，這個觀點必須予以確立，如此文學博物館才能在研究與展覽這兩個不同使命中盡責承擔，從容揮灑。

關鍵字

手稿；真實性；展覽

並列摘要

Manuscripts are the by-products of literary works and reflect the writer's thought processes. In other words, the handwriting contained within manuscripts can be traced back to the writer's mental activity during the creation process. Handwritten manuscripts can be regarded as real manuscripts because their authenticity cannot be called into question. In Chinese culture, handwritten works are of significant value comparable to calligraphy. The use of the computer as a writing tool is the current trend and computer printed manuscripts are replacing handwritten ones. Consequently, literary museums should consider if it is still necessary to display manuscripts. Since handwritten manuscripts are gradually becoming unavailable, literary museums might ask a writer to handwrite some of the text of a published work and then pass it off as an original manuscript. This can be misleading to visitors who might believe that the writer handwrote the entire manuscript. To ensure collection authenticity, handwritten works that are completed after publishing cannot be considered real manuscripts. Moreover, manuscript displays are not the only choice for literature exhibitions. When real manuscripts are not available, literary museums can create exhibitions based on the contents of the works. In this way, literary museums can fulfill their responsibilities and mission in the areas of research and exhibition.