蝸牛在荊棘上——路翎及其作品研究

路翎（1923-1994），七月派代表性小說家，活躍於四十與五十年代中國文壇。早年作品受到特定文藝／政治體制批評系統屏蔽，其中蘊涵的意義仍未被充分表述，繫獄關押被迫停筆多年後，八十年代以降的晚年作品則如冰山一角，海面下猶有廣大部分亟待認識。本研究考察路翎一生的經歷與創作，企圖從看見主體與主觀的重要性、看重風格與語言及其作用的途徑解析路翎的作品，探究文本內部諸如語言、敘事、結構等藝術特徵，同時把握作家的創作實際，追跡路翎的人生行程與創作道路間的關聯性，關注其作品中所懷抱的現實命題，諸如：群眾／人民再現的複雜意涵，個人（主義）與（革命）群體的關係，朝鮮前線戰爭書寫中躍動的「國際主義愛國主義」情感內容，等等，以重新評價路翎的創作。第一章〈緒論〉敘明研究設想，透過重要的文獻回顧呈現研究現況，藉以勾勒本研究的主要立論，並就章節安排、內容大要與個別論點作出說明；第二章〈PASSION：受難／激情的時代印記〉為後續章節具體析論路翎作品的基礎，先梗概路翎的寫作歷程，之後進入作品內部，探討俄蘇文學之於路翎創作所起的作用，繼而深究路翎所身歷時代語境的變化及其對路翎創作的可能介入；第三章〈時代青年的道路〉析論被胡風譽為其出版是「中國文學史上一個重大的事件」的鴻篇巨帙《財主底兒女們》，在「知識青年的追尋與困躓」閱讀軸線中，此作不啻為一部理想青年的人民之書；第四章〈前夜〉探討路翎四十年代關於底層工農人物的作品，路翎此時期的小說可謂是一種「窮人文學」，所關注的並非建國過程中所需要的前進革命主體，而是進不去偉大新時代的舊人物；第五章〈前夜之後〉討論路翎五十年代工人題材的小說與劇本，以及朝鮮前線特寫報告和志願軍題材的小說創作；第六章〈「我不反革命」：1955年之後的作品〉論析路翎晚年詩歌、散文與小說的藝術性，藉此與逾越生平而牽涉作品評價的「一生兩世」論斷對話；第七章〈結語：但塵埃沒有說話〉重新賅括本研究的關鍵論點，對路翎作品做出總體評價。路翎作品最為突出的特點是極力給予人物最大限度的感受性描寫，對於「感覺」與「情緒」的專注表現，貫穿路翎的創作歷程。他一生創作所受到的肯定與否定，在不同時期文藝／政治體制批評系統間反覆，擺盪在反抗／不反抗的尺規兩端，從而揭示了文學與政治同一的「進步／落後」批判修辭的保守性。在左派進步話語政治中的路翎創作，像是一抹胭脂欠缺真實的血色，而如若，我們援引張中曉的現實主義思考，將「暴露」與「歌頌」的評論套路，改寫為「痛苦」、「歡樂」、「追求」與「夢想」來閱讀路翎及其作品，那麼路翎的創作不曾「轉向」，胭紅並不虛假，血色也未必更真，「進步／落後，現實主義／現代主義，集體／個人」一類成對出現的二元對立論述框架，限囿不了路翎的著述，此疆彼界之間的斜線地帶（／），可能才是路翎創作所座落的位置。

關鍵字

路翎；現實主義；七月派；胡風；個人／群體；革命；國際主義；愛國主義

並列摘要

Lu Ling (1923-1994), representative of the writers closely associated with July Magazine, had been active in literary circles in the 1930s and 1940s China.Circumscribed by systems of critiques of literary/political institutions, his early works have not been fully attended to while the connotations not expressed. Imprisoned and forced to suspend his writing for years, Lu’s works produced after the 1980s resemble the tip of an iceberg, under which a sea of meanings awaits our exploration. To reassess Lu’s literature, this dissertation walks along the route of Lu’s life and creations, in order to explore the artistic characteristics of his language, narrative, and structure while trace the connections between his personal experience [journey of life?] and creation path [trajectory of creation?]. It focuses on Lu’s theses on reality,including complexity of representing the multitude/people, relationships between the individual(ism) and the (revolutionary) collective, as well as the affect of “Internationalist patriotism” in his frontline war-writing of the Korean War. The first chapter introduces the purpose of this research, literary review, and chapter layout, to illustrate the main argument of this dissertation. Chapter Two, “PASSION: Sufferings/the Imprint of the Age of Passion,” is the basis on which the later chapters develop their respective argument. It offers a silhouette of Lu’s writing trajectory,and then attends to the interior of his works to explore the influence of Russian literature, investigating the ways in which Lu’s wring had been informed by and articulated with the contextual changes. Chapter Three, “Road of the Youth,” analyzes how Caizhu De Erniimen—“a major incident in Chinese literary history,” as acclaimed byHu Feng— can be read as an ideal for the youth in the context of the “pursuit and plight of the intellectual youth.” Chapter Four, “On the Eve,” discusses Lu’s works in the 1940s that attend to the underclass workers and peasants, who, unlike the revolutionary subjects moving forward in the nation-building process, are not qualified to enter the great new age. Chapter Five, “After the Eve,” discusses Lu’s 1950s novels and plays that focus on the workers, the war-writing of the Korean War frontline, and fictional writingof volunteer soldiers. Chapter Six, “ I Am Not Anti-Revolution: Works after 1955,” analyzes the artistic characteristics in Lu’slater poems, essays and novels,so as to converse with the following statement: “Lu leads a life in two generations.” Chapter Seven, “Conclusion: and yet the dust does not speak,” reviews the argument of this research, and concludes with a general assessment of Lu Ling’s literature. Most distinctive of Lu’s works is his affective description of “feelings” and “emotions” of the characters. The affirmation and negation of Lu’s works fluctuate along with the systems of critiques of literary/political institutions, with the extremes of resistance and non-resistance. Precisely because of such a fluctuation, the critique of Lu’s works exposes the conservativeness of the seemingly critical literary-political rhetoric of “progressive/backward.” In the view of the left progressive politics, , Lu’s writing is akin to a shade of carmine that lacks the color of realistic blood;however, if we read Lu’s works with Zhang Zhongxiao’s thinking on realism, replacing “exposure” and “praise” with “pain,”“joy,”“pursuit,” and “dream,” we would realize that Lu’s creation has never “turned.”The carmine is not a sham, while the blood is hardly truer. Lu Ling’s writing has not been circumscribed by the binary oppositions such as “progress/backward,”“realism/modernism,”“the collective/the individual.” The borderland between the boundaries may be where Lu’s creation situates.