台灣女性小說史─後現代與後殖民：1987年以來的台灣女性小說(1/3)

Abstract

本計劃上接張誦聖對1976 至1987 年台灣女作家的研究，將探討1987 年 以來台灣女性小說，並將之放在當時小說概況，及文化生產場域的脈絡。我認為 1987 年以來的台灣文學，以後現代的寫作手法和後殖民的多重認同 (包括國 族、鄉土、性別、性取向) 為主要特色，而女性小說在這方面表現突出。1987 年在整個台灣小說發展史上是個重要轉折點。葉石濤的《台灣文學史綱》出版， 與政治上的解嚴有所呼應，代表本土意識正式走上檯面，介入台灣文學史的書 寫。八○年代獨派小說與懷疑論式政治小說當道，在解嚴後又邁入新的高峰，與 《台灣文學史綱》指標性的意含不無關聯。這兩類小說與新眷村文學、都會文學 都涉及了國族或鄉土的重新定位。後現代的寫作手法正好契合懷疑論式小說去迷 思之意圖，但後現代寫法也廣為眷村文學、女性小說、同志小說、科幻小說採用； 其流行與兩大報的推波助瀾、將之正典化大有關係。1987 年後文壇受媒體及市 場導向影響甚鉅。出版社以資本主義行銷方式刺激文化消費，傾向採取議題及照 片包裝、新書發表會方式促銷。報紙解禁使得兩大報的霸業漸損，縱使副刊增刊， 純文學的閱讀人口卻減少。新興的社會運動如女性運動、同志運動、原住民運動 與統獨論戰反而是媒體搶得讀者注意的話題。這些多元認同似代表台灣集體潛意 識裡邁向後殖民的慾望。相應於此，女性小說、同志小說、原住民小說、獨派小 說與懷疑論式政治小說也大為風行。 女作家像陳燁《泥河》、李昂《迷園》、《北港香爐人人插》、《自傳的小說》、 蘇偉貞《離開同方》、朱天心《古都》、平路《行道天涯》、《百齡箋》、《何日君再 來》、朱天文《荒人手記》、袁瓊瓊《今生緣》、施叔青《香港三部曲》、蔡素芬《鹽 田兒女》等都投入國族或鄉土打造書寫。標榜女性意識的小說包括李昂《迷園》、 平路《凝脂溫泉》、朱天文《世紀末的華麗》、成英姝《公主徹夜未眠》、章緣《更 衣室的女人》、張惠菁《末日早晨》。而處理同性戀題材的女作家包括邱妙津《鱷 魚手記》、陳雪《惡女書》、朱天文《荒人手記》、曹麗娟《童女之舞》、凌煙《失 聲畫眉》、張亦絢《壞掉時候》、成英姝《人類不宜飛行》、杜修蘭《逆女》。在寫 作手法上，朱天文《荒人手記》、朱天心《古都》都採用拼貼式，平路《百齡箋》、 《何日君再來》、洪凌《肢解異獸》都是後設小說，此類後現代小說寫法有時彷 彿耍玩，有時則是懷疑論式地翻轉、解構，與後殖民意識有著巧妙關聯。以上所 述為1987 年以來台灣女性小說之主流。非主流但與前述主題相關的包括施叔青 的世紀末小說《微醺彩妝》等。 本計劃將分三年執行。第一年總覽1987 年以來台灣小說，並研究1987 年以來台灣文化生產場域的結構與機制。第二年除了延續第一年的研究，並研討 1987 年以來台灣女性小說與主流小說的差異與疊合。第三年探討這個時期女性 小說的主流與非主流，評析個別女作家小說。

This project seeks to study Taiwan women’s fiction since 1987 in relation to Taiwan fiction and the field of cultural production during the period. I argue that Taiwan fiction since 1987 has been characterized by postmodern writing style and postcolonial multiple identification (i. e. along the lines of ethnicity, the nation, the native, gender, and sexuality). Women’s fiction during this period stands out in these two aspects as well. The year 1987 marks an important transition in the history of Taiwan fiction. The publication of Yeh Shih-tao’s The Historical Outlines of Taiwan Literature in that year corresponds to the lifting of the martial law and signifies the nativist intervention of the writing of the history of Taiwan literature. The book’s landmark significance is echoed by the fact that pro-Independence fiction and skeptical fiction, which were dominant in the genre of political fiction in the eighties, reaches another climax after 1987. These two subgenres of political fiction as well as the new Chuan-tsuen fiction and the new urban fiction all involve a rethinking of Taiwan’s national and cultural identity and the definition of the “native.” Postmodern writing strategies fit well into the de-mystification agenda of skeptical fiction, but they are also widely adopted by Chuan-tsuen fiction, women’s fiction, gay and lesbian fiction, and sci-fi. The prevalence of postmodernism has a lot to do with its promotion and establishment by the two dominant newspapers. The literary field is greatly influenced by the media and the market orientation after 1987. The publishers tend to stimulate cultural consumerism by capitalistic marketing strategies, hence promoting books by focusing on special issues and authorial photo-attached packages. The deregulation of limited number of newspapers undermines the domination of the two leading newspapers. As a result, the reading population of “pure literature” is on the decrease, despite that the literary supplements have gained more space. The media catch the reader’s attention through new topics such as new social movements like the feminist movement, gay and lesbian movement, and the aboriginal movement as well as the debates on Taiwan’s national identity between pro-Independence and pro-reunification camps. Such a multiple identification seems to represent a desire in the Taiwanese collective unconscious toward postcolonialism. Correlating with such a desire is the prevalence of feminist fiction, gay and lesbian fiction, and aboriginal fiction as well as pro-Independence fiction and skeptical fiction. Women’s fictions dealing with Taiwan’s national and cultural identity or a re-definition of the “native” include Chen Yeh’s The Muddy River, Li Ang’s The Labyrinthine Garden, Pei-kung Incense Pot, Novel: An Autobiography, Su Wei-chen’s Leaving Tung-feng, Chu Tien-tsin’s The Ancient Capital, Ping Lu’s Walking to the Edge of the World, Madame Chiang’s Letters, When Does My Love Come Back to Me?, Chu Tien-wen’s Notes of a Desolate Man, Yuan Cheong-cheong’s Loves in this Lifetime, Shih Shu-ching’s The Hong Kong Trilogy, and Tsai Su-fen’s Children of the Salt-field. Women’s fiction with an emphasis on feminist consciousness include Li Ang’s The Labyrinthine Garden, Ping Lu’s The Creamy Fountain, Chu Tien-wen’s The Fin-de-Siecle Splendor, Cheng Ying-shu’s The Princess Is Sleepless Through the Night, Chang Yuan’s The Women in the Restroom, Chang Huei-ching’s On the Apocalyptical Morning. Women’s fiction dealing with gay or lesbian or queer topics include Chiu Miao-jin’s Notes of a Crocodile, Chen Shuei’s Evil Women’s Book, Chu Tien-wen’s Notes of a Desolate Man, Tsao Li-chuen’s The Dance of Innocent Girls, LingYen’s The Bird That Has Lost Its Voice, Chang Yi-shuan’s When She Breaks Down, Cheng Ying-shu’s Humankind Should Not Fly, and Tu Shiu-lan’s Bad Daughters. As far as writing methods are concerned, both Chu Tien-wen’s Notes of a Desolate Man and Chu Tien-tsin’s The Ancient Capital use pastiche, while Ping Lu’s Madame Chiang’s Letters and When Does My Love Come Back to Me? and Hung Ling’s Beast are metafictions. These postmodern writing strategies are sometimes playful but they can also be used to subvert and deconstruct dominant ideas in a way that correlates with postcolonial thinking. Apart from the above-mentioned fiction, which can be seen as the mainstream of Taiwan women’s fiction since 1987, non-mainstream fiction includes Shih Shu-ching’s fin-de-siecle novel Tipsy Makeup. This project will take three years. In the first year, I will survey Taiwan fiction since 1987 and study the field of cultural production during this period. In the second year, I will continue the study of the first year and focus on the difference and overlapping between women’s fiction and mainstream fiction during this period. In the third year, I will study the mainstream and non-mainstream of women’s fiction during this period and evaluate individual women writers.