大陸文革小說中的身體狂歡敘事及其意義—以王小波、閻連科為主要討論對象
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Date
2011/8-2012/7
Authors
石曉楓
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Abstract
文化大革命結束後，大陸進入「新時期文學」階段，一波波重寫歷史的新潮方興未 艾。實際上，留連創傷本就是對於文革反思的動力之一。筆者於上個年度以大陸「一九 六○年代出生作家群」中的余華（1960-）、蘇童（1963-）為例，指出冷酷色彩與荒誕特 質，是此輩作家對於文革回憶的主要表述策略。本年度起，則計畫以「一九五○年代出 生作家群」中的王小波（1952-）、閻連科（1958-）為例，進行另一波關於文革身體書寫 特色的闡發。 相對於余華、蘇童等對於肉身悚懼、肉身懲罰以及暴力、死亡與瘋癲的書寫，王小 波與閻連科則以肉體的狂歡與語言的戲謔書寫文革。王小波作品中充滿狂歡色彩的性愛 講述，是對文革政治和極權專制的反抗，同時也展示了邊緣小人物的黑色幽默，他們在 放縱性欲的同時，也放逐了革命的真理。戲謔與拆解，遂形成王小波文革敍事的特色。 至於閻連科則將政治狂歡與性愛狂歡結合得天衣無縫，《堅硬如水》中男女主角革命、 偷情兩不誤的鬧劇；《為人民服務》裡關於文革語言的反覆借用，在在展現出某種混合 憤怒與嘲諷的「文革」狂歡記憶。 經由文本細繹，筆者意圖思考並解決的問題是：王小波、閻連科的身體書寫，究竟 是一代人無可迴避的集體記憶表述，或是時代書寫風潮的習染使然？其背後隱藏的文化 立場與精神取向，經歷了何等變遷？此外，文本裡對於狂歡敍事手法的運用，與巴赫汀 的廣場空間與狂歡概念有何異同？「狂歡」敘事是否已展現出批判的精神深度，以及破 壞中的再生？或者反而形成新世紀文學某種「混亂的美學」與「歷史遊戲化」的弊端？ 新生代作家所謂的欲望寫作、身體狂歡，在概念上又產生何等質變？狂歡究竟伊於胡 底？凡此思考及檢討，都將有助於我們看清當代狂歡書寫的意義與侷限。
After Cultural Revolution, the Mainland China enters “New Era Literature” stage, and the tide of rewriting the history is in the ascendant. In fact, being reluctant to part from traumas is one of the driving forces to introspect Cultural Revolution. In my last project on writers of the 60’s Mainland China, I took Yu Hua and Su Tong as examples to demonstrate that being cool and absurd is the main strategy for the writers to recall Cultural Revolution. In this new project, I plan to examine writers of the 50’s, especially Wang Xiobo (1952-) and Yan Lainke (1958-), to make a further study of the characteristics of body writing during Cultural Revolution. Contrast to Yu Hua and Su Tong’s writing of body fear, body punishment, violence, death and madness, Wang Xiobo and Yan Lainke describe Cultural Revolution by way of body carnival and language banter. Wang Xiobo’s works are full of carnival sexual expressions, resisting Cultural Revolution and totalitarian authority and displaying black humor of nobody. When they are indulging in sex, they expel the truth of revolution at the same time. Banter and undoing become Wang’s characteristics. Yan Lainke makes a perfect combination of political carnival and sexual carnival. The repeated borrowing of Cultural Revolution language in Serving the People and the farce of the protagonists’ considerations to revolution and clandestine love in Hard as Water all show some kind of carnival memory of Cultural Revolution with anger and sarcasm. In the study, I will try to solve the following questions: Is Wang Xiaobo and Yan Lainke’s body writing an unavoidable group memory expression of their generation or an influence of the writing style of the time? What changes do the culture position and spiritual orientation behind it undergo? What are the similarities and differences between their use of carnival narratives and Bakhtin’s square space and concepts of carnival? Does the carnival narrative display the depth of criticism and regeneration from destroying or become some kind of “chaos of aesthetics” and “ making the history a game” abuses of New Century Literature? How do the new generation writers’ concepts of sex writing and body carnival change? When does the carnival end up finally? All the considerations and reviews will help us clarify the meaning and limitation of modern carnival writing.
After Cultural Revolution, the Mainland China enters “New Era Literature” stage, and the tide of rewriting the history is in the ascendant. In fact, being reluctant to part from traumas is one of the driving forces to introspect Cultural Revolution. In my last project on writers of the 60’s Mainland China, I took Yu Hua and Su Tong as examples to demonstrate that being cool and absurd is the main strategy for the writers to recall Cultural Revolution. In this new project, I plan to examine writers of the 50’s, especially Wang Xiobo (1952-) and Yan Lainke (1958-), to make a further study of the characteristics of body writing during Cultural Revolution. Contrast to Yu Hua and Su Tong’s writing of body fear, body punishment, violence, death and madness, Wang Xiobo and Yan Lainke describe Cultural Revolution by way of body carnival and language banter. Wang Xiobo’s works are full of carnival sexual expressions, resisting Cultural Revolution and totalitarian authority and displaying black humor of nobody. When they are indulging in sex, they expel the truth of revolution at the same time. Banter and undoing become Wang’s characteristics. Yan Lainke makes a perfect combination of political carnival and sexual carnival. The repeated borrowing of Cultural Revolution language in Serving the People and the farce of the protagonists’ considerations to revolution and clandestine love in Hard as Water all show some kind of carnival memory of Cultural Revolution with anger and sarcasm. In the study, I will try to solve the following questions: Is Wang Xiaobo and Yan Lainke’s body writing an unavoidable group memory expression of their generation or an influence of the writing style of the time? What changes do the culture position and spiritual orientation behind it undergo? What are the similarities and differences between their use of carnival narratives and Bakhtin’s square space and concepts of carnival? Does the carnival narrative display the depth of criticism and regeneration from destroying or become some kind of “chaos of aesthetics” and “ making the history a game” abuses of New Century Literature? How do the new generation writers’ concepts of sex writing and body carnival change? When does the carnival end up finally? All the considerations and reviews will help us clarify the meaning and limitation of modern carnival writing.