《臺灣三部曲》之《風前塵埃》--歷史書寫後設小說的共時與共在
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Date
2012-10-01
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國家臺灣文學館籌備處
Abstract
本論文以瓊瑤《六個夢》爲研究對象，以結構主義敘事分析及符號學的理論與方法，探討此書中同輩親屬關係的難題。此書隨著時間順序，由民前20年開始（大約光緒元年），而後民初、北伐、七七事變、抗日戰爭、戰爭結束。地點包括北平、上海、西湖、成都、重慶。時間與地點描寫的模糊非但不是缺點，反而與愛情敘事形成平行。愛情成空，猶如飄盪的意符；民國也同樣成爲縹緲的意符。筆者指出《六個夢》「不盡然沒有現代性」，此種說詞表明了浪漫愛與婚姻結合乃是現代性的核心制度，言情小說或是羅曼史催化了這種現代性；而瓊瑤早期小說，卻是更依戀的回首傳統。傳統與現代兩者的依違矛盾，以及同輩親屬關係轉變爲愛情的糾葛，使得愛情成爲一則轉型失敗的寓言，永遠停留於童年。
This paper examines the popular fiction written by Xie Xue-yu, "The Heroines of Japan and China", by focusing on three aspects: women's images, imagination of Chinese and Japanese culture, and the way the author advocates national policies in the novel. This paper withholds the issue of constant and stable identity and whether or not the author is pro-Japan. Instead I raise the concept of transcultural identity editing to show how Xie Xue-yu moves across in-between spaces of Japan/China, tradition/modernity, East/West.This paper explores transcultural flows, which is different from multiculturalism. The latter assumes that there exist many kinds of cultures within a nation, and each of these cultures is homogeneous within itself and differentiates itself from other cultures through external comparison. But transculturality proposes that each culture has built within itself internal differences and interacts with other cultures to form a dynamic network. To construct personal identity is more like choosing, deleting, and arranging elements from various cultures to build up a configuration that attends to the needs at the moment.I also attempt to revisit the thesis of national allegory as proposed by Fredric Jameson. I think the term "national" as used by Jameson does not mean "national identity." Instead, the term refers to a problematic regarding politics, society, and history in the conditions of modernity. And contemporary allegory can be characterized by the fracture between the signifier and the signified, as well as the ambiguity and heterogeneity of meanings. This paper does not regard the fiction as a mouthpiece of Japanese imperialism and nationalism; instead, I emphasize how the internal textual differences evade a single national position in order to re-arrange multiple positions under the surface of conforming to official policies.
This paper examines the popular fiction written by Xie Xue-yu, "The Heroines of Japan and China", by focusing on three aspects: women's images, imagination of Chinese and Japanese culture, and the way the author advocates national policies in the novel. This paper withholds the issue of constant and stable identity and whether or not the author is pro-Japan. Instead I raise the concept of transcultural identity editing to show how Xie Xue-yu moves across in-between spaces of Japan/China, tradition/modernity, East/West.This paper explores transcultural flows, which is different from multiculturalism. The latter assumes that there exist many kinds of cultures within a nation, and each of these cultures is homogeneous within itself and differentiates itself from other cultures through external comparison. But transculturality proposes that each culture has built within itself internal differences and interacts with other cultures to form a dynamic network. To construct personal identity is more like choosing, deleting, and arranging elements from various cultures to build up a configuration that attends to the needs at the moment.I also attempt to revisit the thesis of national allegory as proposed by Fredric Jameson. I think the term "national" as used by Jameson does not mean "national identity." Instead, the term refers to a problematic regarding politics, society, and history in the conditions of modernity. And contemporary allegory can be characterized by the fracture between the signifier and the signified, as well as the ambiguity and heterogeneity of meanings. This paper does not regard the fiction as a mouthpiece of Japanese imperialism and nationalism; instead, I emphasize how the internal textual differences evade a single national position in order to re-arrange multiple positions under the surface of conforming to official policies.