由《生活在瓶中》到《夜遊》：論馬森的文學現代性與80年代前期台灣文學場域
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Date
2012-10-??
Authors
廖淑芳
Liao, Shu-fang
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Publisher
國立台灣師範大學台灣語文學系
Department of Taiwan Culture, Languages, and Literature, NTNU
Department of Taiwan Culture, Languages, and Literature, NTNU
Abstract
本論文主要探討「80 年代前期」台灣文學場域與馬森文學的關係。「20 世紀80 年代前期」是台灣文學由鄉土論述進入本土論述的關鍵時期，在1977年的鄉土文學論戰之後，台灣文學發展進入一政治文學興起，市場機制開始迅速成形的轉換年代。本文試圖說明面對新的場域邏輯，馬森文學在怎樣的內在形式與外在形構中得到重視，這樣的現象又說明了什麼意義。本文主要挑定書名具高度象徵意義的《生活在瓶中》與《夜遊》二作，認為20 世紀80年代前期雖然「現實現前」，但社會普遍上仍是在一個「生活在瓶中」的狀態，即一個雖然可以透過透明的玻璃瓶看見外面，卻是無法有實際觸覺的。當時台灣「實驗劇場」的氛圍說明了各種從美學型式進行的探索，但是對於現實終究是將明未明。這是一個仍以「美學」為主，尚未進入「政治」性的年代。而馬森的回國，從教學創作與各種參與，他等於加入當時台灣文學場域這一場秩序重整結構翻轉的「夜遊」之旅。他的《夜遊》，既「前衛」又「知性與感性兼具」。在現代主義美學似乎即將退潮、現實主義美學正在強大起來的轉換階段，它不如《生活在瓶中》如此哲學符號化，而以更實際明朗的情節性帶出「都會」「女性」的現實議題，尤其被禁錮的身體感官經驗的探索，也適切地表徵著80年代前期將明未明的「前歷史」氛圍。
This essay aims at the relationship between Ma Sen’s literature and the Taiwanese literary field in the early 1980s. The early 1980s is the crucial period of the paradigm shifts from the discourse of “Siang Tu” (the local) to “Ben Tu” (the native). After the debate on the local literature in 1977, the development of Taiwanese literature has moved quickly into political writing and following the market rules. This paper intends to demonstrate, in this new type of literary field, how Ma Sen’s literature catches the reader’s eyes through its inner aesthetics and external structure, and further to explore the significance of the new phenomenon revealing to us.Ma’s two novels, Living in a Bottle and A Night Journey, highly symbolize the political and social situations of Taiwan in the early 1980s, isolated from the world as if living in a transparent but intangible bottle. This is a dawn for exploration of aesthetic forms and of various styles while the political condition in Taiwan is neither clear nor stable. At this moment, however, the Taiwanese literature is seen through an aesthetic lens rather thanpolitical one. Ma Sen’s returning to Taiwan is like an attendance at “a night journey”, in which Taiwan has been experiencing a turnover from the old world to the new one. As the female protagonist shows in the novel, A Night Journey represents the women’s situations in Taiwan in which they search for liberation from their imprisoned bodies. Thus, it attracts the reader by the quality of its sense and sensibility. Its advanced topic also forecasts the prehistory ofTaiwanese literature in the early 1980s that it is going to transit from modernism to social realism in aesthetics, with the popular topics about the city life and the exploration of the restrained body of women.
This essay aims at the relationship between Ma Sen’s literature and the Taiwanese literary field in the early 1980s. The early 1980s is the crucial period of the paradigm shifts from the discourse of “Siang Tu” (the local) to “Ben Tu” (the native). After the debate on the local literature in 1977, the development of Taiwanese literature has moved quickly into political writing and following the market rules. This paper intends to demonstrate, in this new type of literary field, how Ma Sen’s literature catches the reader’s eyes through its inner aesthetics and external structure, and further to explore the significance of the new phenomenon revealing to us.Ma’s two novels, Living in a Bottle and A Night Journey, highly symbolize the political and social situations of Taiwan in the early 1980s, isolated from the world as if living in a transparent but intangible bottle. This is a dawn for exploration of aesthetic forms and of various styles while the political condition in Taiwan is neither clear nor stable. At this moment, however, the Taiwanese literature is seen through an aesthetic lens rather thanpolitical one. Ma Sen’s returning to Taiwan is like an attendance at “a night journey”, in which Taiwan has been experiencing a turnover from the old world to the new one. As the female protagonist shows in the novel, A Night Journey represents the women’s situations in Taiwan in which they search for liberation from their imprisoned bodies. Thus, it attracts the reader by the quality of its sense and sensibility. Its advanced topic also forecasts the prehistory ofTaiwanese literature in the early 1980s that it is going to transit from modernism to social realism in aesthetics, with the popular topics about the city life and the exploration of the restrained body of women.