虛構拮抗文學史：郭松棻作品中的新面向

Abstract

摘要 本文目的有三：其一為批判在臺灣文學史書寫歷程中所奠定的意識形態，及其對目前領域整體視域、方法、政治向度所設限制；其二是以有別以往的觀點與方法，發掘郭松棻小說中尚未受到重視與討論的新面向；其三乃以郭松棻為範例於台灣文學測度、開拓比較文學的可能。在方法論上本文以西方馬克思主義美學為重要理論資源與典範，在文本細讀的基礎之上，描述並發掘形式與修辭層次上的歷史與知識論意義。 本文緒論追溯臺灣文學史書寫如何以「抵抗意志」與「本真需求」為原則建立臺灣文學的意識形態與烏托邦範式。第一章發展緒論所述，說明臺灣文學史意識形態如何建立在寫實主義與現代主義的美學與知識論基礎上，並試圖證明兩者互相涵攝的關係。第二章重探日本近代思想史接受西方現代性時展現的內在辯證以何種方式反映在近代文論與小說敘事觀點問題，藉此分析郭松棻小說《驚婚》中關鍵的法庭場景與第一人稱敘事段落。第三章研究福樓拜小說美學對郭松棻短篇小說〈月印〉、〈月噑〉、〈雪盲〉可能的影響，說明郭松棻如何運用錯置修辭客體、諷喻、敘事盲點、無用美學化語句等技巧否定地挑戰小說反映、救贖歷史的正向關係。第四章則從歷史虛構、時間政治與神話方法三個角度重探郭松棻在〈今夜星光燦爛〉發展出的晚期修辭風格與主要意象，批評前行研究流行的救贖說，並說明此一風格亦觸及臺灣本位文學史書寫中殘留的民國問題。本文結論則再以「傳統」與「世界文學」為軸線脈絡化本文的書寫過程並提出對臺灣文學未來的建議。 本文尚有兩篇附論：其一強調已成常識的「想像共同體」論中內建的形式限制，並從西方馬克思主義提出辯證性較強的國族想像；其二從〈草〉文中在場的黑格爾與不在場的馬克思、恩格斯著手，從哲學與敘事觀點探索郭松棻從政治轉向創作的淵源。

Abstract This thesis expects to achieve three goals: first, I aim to critique the ideology consolidated by Taiwan literary historiography and the limits it has set on the vision, methodology and political dimension of the discipline; second, from new perspectives I try to locate dimensions that have not been considered or discussed in details in Guo Songfen’s works; third, I view my reading of Guo’s works as an experiment to measure the possibility of conducting comparative works with Western tradition in Taiwan literature. I refer to Western Marxist aesthetic as the methodological paradigm, and I wish to unearth the historical and epistemological significance in literary forms on the basis of close reading. In the introduction I argue that Taiwan literary historiographies establish the utopian telos of Taiwan literature according to two principles: “will to resist” and “demand for authenticity.” The first chapter follows the argument developed in the introduction and illustrates that the ideology is actually based on aesthetic and epistemological premises of realism and modernism, and I strive to find proof for the inherent interrelation within their ostensible antagonism. In chapter two I revisit modern Japanese intellectual history to tease out the immanent dialectic in its contact with Western modernity, and I observe how this dialectic is reflected in modern literary criticism and problematizes the narrative perspective in prose fiction. I use what I find to read a critical scene in Guo’s novel Jinghun. In the third chapter I study the possible influence of Flaubertian aesthetic on Guo’s stories “Moon Seal,” “Wailing Moon,” and “Snow Blind,” demonstrating how Guo uses rhetorical techniques such as displaced object, irony, narrative uncertainty and useless aestheticization to negatively challenge the affirmative reflective relation between fiction and history. In chapter four I research the late style and imagery in Guo’s “Brightly Shine the Stars Tonight” from three angles: historical fiction, politics of temporalities, and mythical method, so as to criticize the well-accepted “redemption hypothesis” in previous studies and to illustrate how Guo’s late style touches upon the remnant of Republic of China in Taiwan-centered literary historiography. In the epilogue I contextualize my thesis in two axes: “tradition” and “the world,” and propose my advice for the future of Taiwan literature. There are two additional excursuses: one stresses the inherent formal limits in the common sense theorization and application of “imagined communities” and suggests a more dialectical version of nationalism from Western Marxism; the other reads Guo’s story “Clover” from the presence of Hegel and the absence of Marx and Engels to explain Guo’s definitive turn from political activity to literature from the story’s philosophical aspect and narrative problem.