文與字·書與寫：華夷混成語境下的華文文學與文化

Abstract

本文建議從文字的自主選擇、應用、保衛和遺失的焦慮入手，以「文與字」的載體元素及「書與寫」的行動位置作為立基點，並將華夷之變轉化爲一種推動混成變態的語境助力——華/夷的移動、變動不拘乃兩種變態動能，促成在臺、港、新、馬四地之中「華文」對本土的位置、混成及可能造成的存在/消失焦慮。本文以「字」此一最小單位出發，將之如何通過「書與寫」的行為本身，自覺或不自覺編織而成，不同的「文」之姿態、動態、擬態等可能的華文文學與文化主體。同時間本文亦欲以此羅織而成的「文」，在被製造的、純粹的「規範性用語」面前，彰顯華語文自身不必然規範的語文扭曲現象。在不同的處境中，離開中華核心的破中文，很多時候乃此時當下本土的好華文，這樣的語文混成在華文書寫的過程中或能產生地區文學各自的變態動能。而這些好華文卻在不同時空中面對不同的外在力量，或多或少面對壓縮及標準化的困擾。其中本土語言文字的被離散——香港話之於普通話、新馬華文之於馬來文及英文甚至是民國的國語和人民共和國的普通話——弔詭地同時成為一種離心力和向心力。當被離散的離心力能量越大，反過來的向心力也即相應加強。這一系列的同時作用力，在華夷之變這個變態動能語境的關照下，其中混成的能量也即不容小覷。華/夷兩者不再是一條線上的兩端，而是在不同混成語境中可以作為動能，以審視更多元個案中的那一種非華非夷、亦華亦夷的雜糅混成節點所產生的當下結構。 本文所針對的混成個案，其對文/字本身的建構都能見其不同的意圖。文/字在其身上都更能展現出相近的時間段落中，華夷之變的混成動能在其身上產生的作用。本文以文/字作為貫穿五個個案的關鍵詞，乃發現這些文/字創作者們在文學與書法作品中的「文身圖騰」，以身體為載具，皮膚為舞臺，刻畫其身以為文。從臺灣個案開始，我們認清了華夷之變中權力結構的變異，對混成和同質化之間產生的差異性成果。而後黃錦樹的移動個案，更讓民國——臺灣與其「後」馬共書寫產生關聯，在馬華與臺灣的兩屬/兩不屬中，展現其華夷風文學民國——臺灣——馬華的個人實踐。第三個個案則進入英培安小說中新加坡在國際化的都市結構中，以前殖民者留下的英語文為全民的語言政策。並自小說中凸顯新加坡華人歷史記憶的無處安置，以此作為與純粹中華性距離最遠的混成案例。同樣作為城邦的香港個案中，從董啟章的香港城與字，我們試圖將香港的中介位置提出，在資本主義與愛國主義的相互糾葛下，缺乏歷史的香港如何尋回廢墟中的往昔歷史。故文作為重要的銘刻意義，我們可以更擴大其邊界，從文與字的編織關係，擴大到以毛筆書寫漢字的行為本身。毛筆書寫在當代意義上已脫離實用性而成為一種藝術行為，而這些求索自古人筆墨逸趣的書寫者們，將其創作與此時蔚為風潮的純粹「為藝術而藝術」拉開一段距離時，毋寧展示了這些華人創作者在藝術性之外，以書畫用紙為舞臺，以文字筆墨為自身的延伸/延續，為的是一種接近表現自我，並達到與他者交流互滲的儀式意義。書法成為「華」無可替代的一種直接具象，自然有其更大也更重要的討論意涵。 這裡我們即可展開以華抗夷的辯證性。本文中一直潛藏的一個危機，乃在梳理華夷之變的混成語境時，面對單元主義式同質化方式的混淆視聽。當我們認清並接受權力（無論是否與政治有關）在華夷之變中具有強大的主宰能量，則建構與變態過程中必然可能在其主宰之下，產生一尊主體的同質化危機。本文展示的各個個案，其目的正是意圖將同質化與混成兩者之間的區隔細膩化。同質化作為一種納入的手段，以定於一尊的視角，讓其他文化文本在權力制約的機制下，被動成為附庸的一部分。而混成概念中，雖然權力結構有其大小差距，然成功的個案應當是在歷史長河中，在不斷演化並更新所指定義的狀態下，由共構的多方同時發出並不均值的能量，最後產生出的一個交互作用下的多元集合體。故我們有了這樣的認知語境後，將之予以檢視各種不同的時空節點上的當下結果，則可能在華文文學與文化的研究脈絡中，看見各種不同的實踐風景，並以此提升對其過程的評價、批判力道。

This thesis proposes to start with the anxiety of autonomous choice, application, protection and loss of words, take the carrier elements of 'scripts and characters' and the action of 'writing and inscription' as the starting point, and transform the changeability of 'Huayi'（華夷） into a syncretism context: the movement and change of HuaYi are two kinds of abnormal kinetic energy, which contributes to the position, mixing and possible effects of 'Chineseness' in the literary culture of Taiwan, Hong Kong, Singapore and Malaysia. This thesis starts from the smallest unit of 'character', through the action of 'writing and inscription', to analyze the possibilities of Chinese literature and cultural as different postures, dynamics and mimicry of 'wen'（文）. At the same time, this thesis also intends to compose the 'wen' made of this, in front of the manufactured and pure 'normative language', trying to highlight the phenomenon of Sinophone distortion that is not necessarily normative. In different situations, the Sinophone distortion that outside of China is often the local good HuaWen（華文） at the same time. The mixing of such languages ​​in the process of writing may produce the dynamic energy of regional literature. However, these HuaWen are faced with different external forces in different time and space, more or less faced with compression and the troubles of purified Chineseness. Among them, the fragmentation of local languages: Hong Kong dialect from Mandarin, Singapore-Malaysian HuaWen from Malay and English, and even the national language of the Republic of China and the Mandarin of the People’s Republic, paradoxically became a centrifugal force and a centripetal force at the same time. When the energy of the discrete centrifugal force is larger, the opposite centripetal force is correspondingly strengthened. Hua/Yi are no longer two ends of the line, but can be used as kinetic energy in different syncretism contexts to examine the mixed nodes of non-Chinese, non-Yi, and Hua-Yi in more diverse cases. The mixed cases targeted by this thesis have different intentions in the construction of the scripts/characters themselves. And we use it as the key word throughout these individual cases, and find out how the HuaYi syncretism affect these HuaWen creators. Starting from the case of Taiwan, we have clearly recognized the variation in the power structure in the Hua-Yi Changeability, and the different results between the syncretism and the homogenization. Second, Ng Kim Chew has made Taiwan (ROC) associated with his writing of the 'post' Communist Party of Malaya. When he himself is in the inclusion and exclusion of Malaysia and Taiwan at the same time, it shows the personal practice of Taiwan-Mahua, in his HuaYi style literature. The third case is the language policy of Singapore's internationalized urban structure in Yeng Pway Ngon's novel, and the English language left by the former colonists as the national language which made this mixed case with the furthest distance from Chineseness. In the case of Hong Kong, which is also a city-state, from DUNG Kai Cheung’s writing of Hong Kong city and characters, we try to put forward the intermediary position of Hong Kong, under the mutual entanglement of capitalism and patriotism, how Hong Kong, which lacks history, can recover her past history from the ruins. Therefore, as an important inscription meaning, we can expand its boundaries, from the weaving relationship between words and characters, to the act of writing Chinese characters with a brush. In the contemporary sense, brush writing has become an artistic behavior, which has been separated from practicality. Rather than showing the artistry, these Malaysian Chinese calligraphers used calligraphy as the stage and writing as the extension/continuation of themselves, in order to approach the self-expression and achieve the ritual significance of communicating and interpenetrating with others. Calligraphy has become an irreplaceable direct representation of 'Chineseness', which has its larger and more important discussion implications. Here we can develop the dialectics of resisting Yi（夷） with Hua（華）. A crisis that has been lurking in this thesis is, when sorting out the syncretism of the Huayi changeability, we also facing the interference of the unitist homogenization. When we recognize and accept that power (regardless of whether it is related to politics) has a powerful dominant energy in the HuaYi syncretism, the process of construction and metamorphosis will inevitably lead to a crisis of homogenization of a subject under its domination. The purpose of each case presented here is precisely to refine the distinction between homogenization and syncretism. Homogenization, as a means of inclusion, allows other cultural texts to passively become part of the vassal under the mechanism of power constraints from the perspective of a single master. In the syncretism, although the power structure has its size gap, a successful case should be in the long history, in the state of continuous evolution and updating of the definition, the co-construction multi-party simultaneously emits uneven energy, and finally a multivariate aggregate under interaction is produced. Therefore, after we have such a cognitive context, we can examine the current results at various time and space nodes, and we may see various practical landscapes in the research context of Sinophone literature and culture, and use this to improve our understanding and proceed to further evaluation and critique.