| 摘要: | 本論文試著聚焦於「行旅者」的身分上，從李永平的小說文本為核心出發，考察小說裡肩負「講故事」職責的敘述者，時而隱匿於主角靳五的鏡像，時而又驅馳於朱鴒與「我」互為添補；具有馬來西亞華人標籤的李永平來自南方，帶來一連串屬於雨林深處的憂鬱記憶，氛圍蔓延在其創作生命裡，遠及《雨雪霏霏：婆羅洲童年記事》還在對於年少時光的追悔反思；如三位一體的吉陵鎮、寫著台北城的海東寓言、仙境漫遊，也都有著無法拋卻的那一大片雨林在，從而將「雨林」轉化成一片片可供拼湊的書寫「語林」，並透過隔空遙測的凝視，婆羅洲、中國、台灣都在其書寫之手可以碰觸的最佳距離內，赤道的回聲點滴襲來，與台灣落腳時的窘促經驗，聚合編織一幅屬於理想國度的畫面，在檢視文本行跡之間，那便是「李永平的小說地圖」所在。 〈緒論〉可視為進行「重繪」李永平小說地圖的起點，以及對於欲到達的目的地所做的概述，除了指明進行李永平小說研究的動機外，也預示著「重繪」之必要。第二章〈製造「李永平」〉進行一系列關於生成「李永平」的背景資料耙梳，並且進一步聚焦在「馬華文學」與「現代主義」下的個體李永平，以其為逃兵與信徒的雙重身分，構築在自我馬華位置間的彳亍，透過出走找尋的循環過程，將永恆的原鄉擺盪在故鄉與異鄉的魅影交織中；而這樣地挖掘作者本質的動作，可視為繪製李永平小說地圖的事前準備工作。 第三章〈實卅虛書寫之源〉則試著觀看李永平生命中的兩大據點：馬來西亞、台灣。雨林記憶或可指涉其旅台之前的婆羅洲回顧，親人與華族在馬當地的處境，以及在多民族雜處下所衍生的種族問題，書寫自我的年少歲月，同時亦是進行一場關於馬來亞的懺悔與追念；而台灣則是這多年來屬於浪子的唯一歸宿，在地經驗的生發，產生了海東、仙境等預示性的宣稱，在寓言成為預言之前，這些都可算得上是作者的「欲言」！並透過不同角色間的視角轉換，拼組這獨特的「台式傳說」，雙腳的踐履則正是其試著從「心」認同的對話方式。第四章〈得卅失樂園之境〉則發散於李永平小說裡的三種空間向度，其透過小說編載著關於漫遊、罪惡與原鄉的所在；漫遊者走在街道巷弄裡記載漫遊中心、犯罪者則從邊緣現身成功占據罪惡空間、異鄉人最後用紙筆走向實驗原鄉一途，在場與缺席之際，這都是他的樂園。 第五章〈結論〉將論文收攝於失落與落失的倒反關係上，行旅者唯有經由落失出走與回歸的過程，才能漸趨貼近理想國度的所在，而「重繪」只是一個編織小說地圖的方式與手段，而以李永平小說文本所具有的流動特質，「重繪」則永無終止的一日，必得不斷地進行再製的階段工作，書寫圖象才有現身之時。 This essay is trying to focus on the stats, “traveler”. And based on the novel nucleus of Li, Yung-Ping’s. It investigates the describer that takes the responsibilities of “story telling”. From time to time, he shows and hides some reflections of the main character, Jin-Wu. And also, soon steep in Zhu-Ling and “I” alternately. The person, Li, Yung-Ping, who owns the label of Chinese Malaysian came from south. He brought a series of bluesy memory that belong in the rain forest and spreads them in his compositions, such as Snows heavily: Childhood records in Berneo, that repents and introspects the young ages. Like the multiple town, the Jiling, or the one talks about the allegory happens in the east ocean of Taipei town. Even expatiates in the wonderland. All of them mention about the rain forest that unforgettable. Although, he transforms the “rain forest” into pieces of “language forest”, and through gazing and remote controlling the over shore, Borneo, China and Taiwan are in the best distance that he could touch and even describe. The echo from equator drops and drops, making a drawing of ideal country with the abash experience when he came to Taiwan. There, in the assemble of paths, back and forth, it is where “the novel map of Li, Yung-Ping” in. We can take the “Foreword” as a start of “the redrawing” Li, Yung-Ping’s novel map, and the outline to the goal. Except to point out the motive to research Li, Yung-Ping’s novels, and also show the necessity of “the redrawing”. In the second chapter “make Li, Yung-Ping”, have assemble a series of information and back ground to the birth of “Li, Yung-Ping”, and further, focus on the person, Li, Yung-Ping, who under the “Chinese Malaysian Literature” and “Modernism”. With the amphibious identities of a defector and believer, build out the selfhood which hesitates in the identity of Chinese Malaysian. By the process he went out to look for himself, it hangs the ancestral home between the interknit of hometown and a foreign one. And by this way to dig out the essence of author, we can take this process as the preparation of drawing Li, Yung-Ping’s novel map. The third chapter “the authorship of false or true”, is trying to focus in two footholds: Malaysia and Taiwan. The memory of rain forest may be taken as a review of Berneo which before he went to Taiwan. Those mention the states that his relatives and Chinese people are, thus, some race problems happen under races get together. He wrote about the young age, at the same time, grieved and repented to Malaysia, also. What’s more, Taiwan is the only end result which belongs to him, for these years. The experiences, those took place there, made some predictions, such as the east of ocean, and wonderland. Before a fable becomes a prediction, those just something the author wants to talk. And through the transformations of views between characters, he pieced his special “Taiwanese legends”. To steps on foot is a kind of a dialogue that trying to speak his mind. The fourth chapter “attain/ lost paradise”, it emanates in three kinds of space which were mentioned in Li, Yung-Ping’s novels. By those novels, knit a place of expatiation, crime and ancestral home. Perambulator walks in the streets and record the center that he wandered, criminals show up from edge to occupy the evil space. Person belongs other country, finally on the way to experience the ancestral home with paper and pens. Both be in present and absent are in his playground. The fifth chapter, “Conclusion”, makes the essay focus in the opposite relationship of the once lost and then be found. Traveler only can by the process of finding his own way through lost and return, he could get close to the place where the ideal country is gradually. Therefore, “redrawing” is only a way or mean to knit the novels map. But, with the fluency characters of Li, Yung-Ping’s novels, “redrawing” will be never end. And we have to proceed and proceed the phase of redrawing constantly, and the describing of images will appear. |
