場域．文體．文學史：「文壇老新人」張拓蕪及其「代馬輸卒」書寫研究

張拓蕪(1928-)為台灣文學史亟需重估的經典作家。一九七三年自軍中退役後未久中風，在文友鼓勵下開筆進行個人自傳性書寫，並陸續於《中華文藝》等相關刊物連載，短短六年完成代馬輸卒五書的出版。在文學消費市場日趨成熟，而鄉土文學運動正盛的七○年代中期，張拓蕪及其《代馬輸卒手記》的暢銷現象，值得高度注意。我首先指出張拓蕪在七○年代從詩人到散文家的文類身分轉移，除了是個人文學審美意識形態的轉向，實則在文學場域中，同時是以「不在軍中的軍中作家」身分，延伸並轉化戰後軍中文藝圈的文化資本而行動；此外其散文生產更應當安置戰後散文與臺灣地緣政治的協商進行分析，因而發現七○年代是文學史上一個為忽略的「散文學」年代，新的散文典律正在形成，間接影響軍中作家從書寫家國走向書寫自我。再者我提出張拓蕪散文是一種複數文體，涵攝從專欄到手記等媒介問題、從詩人到散文的文類美學問題、以及張拓蕪的廣播生涯如何涉入他的白話文體的生成、其代馬輸卒此一自我分裂的現象，更係回應六○年代現代主義之美學遺產、並以身體為角度發現張拓蕪的散文，如何強化動詞修辭來鬆動規訓空間對個人與文體的壓抑，並進一步提出張拓蕪後代馬輸卒時期作品，因著身心障礙身分的表出，形成一種非典型勵志性敘事。最後以文學史層次關照，藉由系列關乎「大兵文學」的討論文字，指出此一討論除了是軍中文藝秩序試圖在七○年代重整，卻因著後繼無人與理論不足等限制，老兵文學及其相關問題意外成為此次討論的結果；其次因張拓蕪文學，恰恰依違軍中文藝與鄉土文學兩個文學史板塊，指出其文學形式與內容有一從反共懷鄉到回歸現實的書寫命脈，不啻與七○年代鄉土文學呼求的美學聲氣相投。而在評估張拓蕪從文壇老新人到文壇老作家此一去典律化過程，則通過記人文章作為一種新出路，重新理解臺灣文學史上諸多老作家關乎老的意義性與可能性。七○年代張拓蕪的《代馬輸卒》系列可謂早到的文學史，無論是張拓蕪所帶來的大兵文學討論，堪稱是戰後軍中文藝的一次迴光返照，張拓蕪文學也承先（反共懷鄉）、啟後（老兵自傳、回憶錄出版），而從場域、文體、文學史三向度，除了有助於我們思考張拓蕪個案之外，亦包括同樣戰後來臺的諸多外省作家們之文學史意義。關鍵字：代馬輸卒、散文學、文體、身心障礙、軍中文藝、鄉土文學

關鍵字

代馬輸卒；散文學；文體；身心障礙；軍中文藝；鄉土文學

並列摘要

In the midst of Nativist literary movement in 1970s, the Notes of Daimashuzu series, written by essayist and poet Zhang Tuo-Wu (1928-), has gained its popularity in literary market that was reaching its popularity. This presenting thesis would investigate this literary phenomenon in terms of literary field, genre aesthetics and literary history, and tries to explicate what such phenomenon brings to literary history of Taiwan. Zhang retired from military service in 1973, and after the attack of stroke, Zhang started to write biographical essays under the encouragement of his writer friends. Those essays were published on Zhonghua Wenyi and related magazines, and he collected his such writings, spanning 6 years, into Daimashuzu series. In the first section of this presenting thesis, I would focus on Zhang’s position in the literary field in 1970s, and firstly indicate that the genre shift in Zhang’s writing, from poetry to essay, is not only the effect of his change in aesthetic ideology, but as well an action based on his identity as “a military writer not in military service,” in which he tries to extend and transform his cultural capital he gained in his military life. What’s more, his essay writing can be further analyzed under the negotiating history of post-war literary essay and the geopolitical dilemma of Taiwan, and this section would conclude that the 1970s is in effect an little-studied decade of essay-ology, when a new paradigm of essay writing started shaping, effecting military writers changing their topics from concerns of the nation to reflection of the self. Zhang’s essays, as I would argue in the second section, count as a genre of multiplicity. This characteristic relates to the problem of its medium, which is situated between magazine columns and private notes, its genre aesthetics, oscillating from poetry to essay, and how the generation of Zhang’s writing style is affected by his experiences in broadcast industry. Such multilayered characteristics of Daimashuzu series, as this section argues, is a response the modernist aesthetic heritage from the 1960s. Also, by investigating into his essays in light of recent studies on representation of body in literature, this section also indicates that in his essays, the reinforced verb forms act as resistance against the disciplinary power imposing on individuals and genres, and that his essays are unconventional “motivational” narratives in light of the presence of his identity of disability and the characteristics of his essays mentioned above. In the final chapter, I would like to extend my discussion to arguments over military writings in literary history. The debate around Dabing Wenxue (military writings) in the 1970s, as this chapter would argue, indicates the authority’s attempt to reform the literary order in military system, but the attempt faltered owing to lacking followers and theoretical bases, and the discussion then turned toward writings by old solders. However, Zhang’s writings, as the argument shows, stands between the two literary category, of the military literary order and the nativist literature, and Zhang’s style actually shows a strand connecting the early anti-communist nostalgia with more recent trend of “returning to reality,” which resonates to the paradigm set by the nativist literary movements in the 1970s. Zhang’s Notes of Daimashuzu series precede its age. The Dabing Wenxue debate his writings bring out actually counts as the momentary recovery of the military literary order; his writings also inherit the literary tradition (anti-communist nostalgic writings) and anticipate literary phenomena (publications of biographies and memoirs of old soldiers). Investigating Zhang Tuo-wu and his writings in terms of literary fields, genre aesthetics and literary history helps not only to analyze Zhang’s own works, but as well to understand the meaning of similar Wai-sheng old soldier writers in literary history.