莫言在臺灣的接受史及其意義
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2015-09-??
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國立臺灣師範大學
National Taiwan Normal University
National Taiwan Normal University
Abstract
本文追溯、重構並闡述2012年諾貝爾文學獎得主莫言（1955～）在臺灣的接受史及其意義。首先，本文重構並指出莫言在臺灣出版的接受視野，有從「現實」往「文學」的傾向移轉的歷史現象，精細地說，是從接受作品的歷史性與現代品格並存，兼有鄉土的堅毅及藝術／美的創新，到後來轉變成一種純「文學」或藝術的傾向。其次，1990年代以來，本土／鄉土與後現代兩大社會與文學思潮，也與莫言及其作品在臺灣的接受有連動意義。一方面，在創作姿態上，能發現莫言早期的「人民」觀，過渡到後期「老百姓」的鄉土與普世立場。另一方面，在主題或題材的多面向、小說的解構情節、非典型、邊緣、特殊性的主人公的設定、非線性的敘事、多聲部的語言、陽剛的抒情特質等的創造力及密度上，他的作品既與臺灣的後現代文學思潮與實踐相輔相成，同時在某些深層內具有一定的陌生性，對臺灣後現代文學的內容及形式有繼續豐富化的參照作用。因此，儘管莫言榮獲諾貝爾文學獎，在臺灣並非完全沒有爭議，但作為一位在臺灣文化圈已廣為人知且有影響力的中國大陸代表作家，作為一位不只是「文學」實踐的創作者，莫言在臺灣的接受史及其意義，也是我們認識臺灣文學主體性的一個重要組成部分。
This article traces, rebuilds, and describes the acceptance history and meaning in Taiwan of the 2012 Nobel Prize laureate in literature, Mo Yan. First, this article reconstructs Mo Yan’s acceptance view of the field in Taiwan’s publishing industry and shows how its history has been transferred from reality to literature. In other words, his works accept the coexistence of historical and modern characteristics, as well as local persistence and artistic innovation, which have been transformed into a pure form of literature or artistic inclination. Second, local and postmodern social trends of thought have been linked with the acceptance of his works in Taiwan since the 1990s. His creative attitude has revealed that his former notion of “people” subsequently overlapped with that of local people. Moreover, his diverse materials, the atypical and fringing plots in his novels, as well as the unique settings, nonlinear descriptions, masculine and sentimental creativity, and density complement Taiwanese postmodern literature trends and practices. His works also contain a certain deep strangeness, which can be consulted as a reference regarding the content of Taiwanese postmodern literature Therefore, despite receiving the Nobel Prize, he remains somewhat controversial in Taiwan; however, as a renowned, powerful, and representative Chinese writer among Taiwanese academics who not only creates literature practice, Mo Yan’s acceptance history and meaning in Taiwan has left a critical part for comprehending the principles of Taiwanese literature.
This article traces, rebuilds, and describes the acceptance history and meaning in Taiwan of the 2012 Nobel Prize laureate in literature, Mo Yan. First, this article reconstructs Mo Yan’s acceptance view of the field in Taiwan’s publishing industry and shows how its history has been transferred from reality to literature. In other words, his works accept the coexistence of historical and modern characteristics, as well as local persistence and artistic innovation, which have been transformed into a pure form of literature or artistic inclination. Second, local and postmodern social trends of thought have been linked with the acceptance of his works in Taiwan since the 1990s. His creative attitude has revealed that his former notion of “people” subsequently overlapped with that of local people. Moreover, his diverse materials, the atypical and fringing plots in his novels, as well as the unique settings, nonlinear descriptions, masculine and sentimental creativity, and density complement Taiwanese postmodern literature trends and practices. His works also contain a certain deep strangeness, which can be consulted as a reference regarding the content of Taiwanese postmodern literature Therefore, despite receiving the Nobel Prize, he remains somewhat controversial in Taiwan; however, as a renowned, powerful, and representative Chinese writer among Taiwanese academics who not only creates literature practice, Mo Yan’s acceptance history and meaning in Taiwan has left a critical part for comprehending the principles of Taiwanese literature.