神聖與虛構：兩岸當代小說中「國家神話」與「新歷史敘事」之辯證

Abstract

儘管一九四九年以降兩岸當代文學各自發展，且各有特色，但共同的現象是：一九四九年兩岸的國家神話，是一九四九年迄今兩岸當代小說隨著不同的時代語境，不斷對話的議題。一九四九年兩岸的國家神話分別是：共產黨在一九四九年到一九七六年推動的社會主義無產階級革命，國民黨在一九四九年到一九八七年號召的反共復國。革命歷史小說與反共歷史小說，不約而同地由國家英雄的身體姿態與中原土地的空間意蘊來展示國家神話。當權威體系鬆動後，兩岸當代小說以新歷史敘事挖掘被國家神話壓抑的小歷史與爲何如此時，也以身體與空間為視角。簡言之，本文考察一九四九年迄廿一世紀兩岸當代小說建構或批判國家神話的共同課題──身體想像與空間銘刻，之於同時異地、同時異代、同地異時的殊異。 先就身體想像而論。兩岸當代小說中的新歷史敘事，由小人物在權力結構中受創的原委與症狀切入，是反思國家神話及其代言者「陽剛英雄／大寫父親」的契機。因此，本文分析小人物引領出的家族故事如何批判與補白宏大歷史時，以身體暴力和話語暴力來重新思考大小寫的父子關係。循此勾勒出一條兩岸新歷史敘事中，從英雄形象到受創人物的轉化歷程，從中可歸納出鋪陳新歷史敘事的主題，除了家族故事之外，隨著文學史的發展，家族故事還派生出虛構美學與重溯起源。要而言之，敘事主題的發展過程，是由「說什麼故事」演變成「如何說故事」，攸關新歷史敘事對神聖與虛構的多層翻轉。 再者，執政者向版圖領土上的人民詮釋國家在歷史長流中的承繼、破舊立新的理念、集體記憶、終極承諾等，是有效統一版圖及其權力結構的關鍵。因此，兩岸新歷史敘事從版圖土地演繹出不同的空間想像，是本文安排章節的次第，分別是：從革命農村、鄉土、家園到後鄉土，從中原版圖的捍守、位移到疆界突圍。本文循此捻出一條從革命歷史敘事或反共歷史敘事到各時期新歷史敘事的發展狀況，包括版圖領土及其宏大歷史編碼小人物的策略，以及，兩岸新歷史敘事如何對版圖領土及其宏大歷史再生產與賦予新意，本文名之為母土生殖的隱喻。由於，家園母土召喚在大寫父權規訓下的受創子輩，省思歷史、應對現在、想像未來，這並非二元對立地解構父權，畢竟，父權不斷地介入與影響母土。因此，母土生殖隱喻的土地關懷與歷史想像，仍以上述父權干預下的受創人物所引領的三項敘事主題，予以開展。這在八○年代至廿一世紀兩岸新歷史敘事發展史中呈現：由家族鄉土派生出對歷史起源與歷史範疇的思考，再延伸成探究虛構美學、重溯起源的重要性。承此，兩岸當代小說的史觀分別是：從唯一的革命性到多元地強化中國性；由移民、殖民纏繞而成混雜、開放、重層的臺灣性。 由此可知，本文以父權規訓與母土生殖的隱喻，說明身體與空間此二議題的表裡關係，而敘事主題黏著在二者之中。亦即，切入國家神話的經線是創傷症狀，緯線則是版圖土地，小說人物以三項敘事主題為基底來縫綴經緯線，從而交織出新歷史敘事的創傷結構。綜上可知，雖然兩岸當代小說中的新歷史敘事各有千秋，但仍有可對話的共同主題與發展脈絡。

Literary circles on both sides of the Taiwan Strait went their separate ways after 1949. There is, however, a phenomenon shared by both sides: various national myths have been a common ground on which cross-Strait contemporary fictions engage in continual dialogue. Such national myths can be summarized as the socialist proletariat revolution between 1949 and 1976 for the Communist Party and the anti-communist movements from 1949 to 1987 for the KMT. Revolutionary historical fictions and anti-communist fictions both utilize the body imagination of national heroes and the spatial concept of the land of Zhong Yuan, or central plain, as the stage for national myths. With the loosening of the authoritarian rules, contemporary fictions on both sides adopt new historical narratives to explore the micro-histories previously suppressed by national myths. In the process, these fictions also adopt the perspectives of body and space. In a nutshell, this thesis will explore common issues for contemporary fictions across the Strait in their construction or deconstruction of national myths from 1949 to the 21st century; these issues include body imagination and space inscription. This thesis will explore their differences across different space, time, and generations. First, the body imagination. New historical narratives in cross-strait contemporary fictions begin with commoners’ traumas in the power structure and their symptoms. This is the key to reflect on the national myth and its representatives: “masculine hero/ Father with capital F.” Therefore, when investigating how commoners’ family stories criticize and complement the macro-history, this thesis adopts the perspectives of body and language violences to rethink father-son relationship in all levels and to trace a process of transformation from hero to traumatic figure. In this process, we see that, while family stories are the subject for new historical narratives, fictional aesthetics and a return to origin are all derived from such family stories. To sum up, narratives develop from “what stories to tell” to “how to tell stories.” This shows how new historical narratives twist the concepts of the sacred and the fictional. Furthermore, the key for the ruling class to maintain the unity of territory and power structure is to be able to interpret to its people of the territory the heritage, the innovative ideals, the collective memories, and the ultimate promises of its nation. Therefore, on both sides, new historical narratives develop different spatial imaginations in terms of the territory and the land. This serves as the base for the arrangement of chapters for this thesis, namely: from revolutionary village, homeland, family land to post-homeland; from central plain’s protection and shifting, to the border-crossing. With this, this thesis analyzes a periodical development of new historical narratives for revolutionary historical narratives and for anti-communist historical narratives. This thesis also discusses how new historical narratives on both sides re-produce and re-invent the territory and its macro-history. The thesis will call this process a metaphor of motherland reproduction. Interpellation of homeland/motherland as Patriarchal subjection is addressed to the younger generations to reflect the history, to face the present, and to imagine the future. This is not a deconstruction of patriarchal power; patriarchal power is continually engaging and influencing the motherland. Therefore, the metaphor of motherland reproduction and its care of land and imagination of history still develop from the three narrative topics for the traumatic figures under the patriarchal influence. As seen in the new historical narratives on both sides of the Strait from 1980s to 21st century, concept of family and homeland expands to deep thoughts on historical origins and historical categories, which further evolve into investigations of fictional aesthetics and the importance of returning to the origin. Therefore, historical views of contemporary fictions on both sides of the Strait can be summarized as the following: moving from the singularity of revolution to the diversified Chinese-ness; constructing the sense of Taiwan-ness via the entanglement of immigration and colonial culture. Therefore, this thesis utilizes patriarchal subjugation and metaphor of motherland reproduction to explain the tightly-knitted relationship between body and space, to both of which the narrative subjects are closely linked. That is to say, national myths are structured by traumatic symptoms and territory, land, and commoners. Even though contemporary fictions on both sides develop distinctive new historical narratives, there are still common topics and contexts of evolution.