記憶與技藝－－重讀《家變》;Recall and Artistry—a Reinterpretation of “ Family Catastrophe”

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题名:	記憶與技藝－－重讀《家變》;Recall and Artistry—a Reinterpretation of “ Family Catastrophe”
作者:	馮尹君;Feng,Yin-chun
贡献者:	中國文學系碩士在職專班
关键词:	家變;宇文所安;王文興;記憶;Stephen Owen;Wang Wen-hsing;Family Catastrophe;recall
日期:	2012-07-23
上传时间:	2012-09-11 17:44:36 (UTC+8)
出版者:	國立中央大學
摘要:	本論文以王文興的《家變》為範圍，以「記憶」與「技藝」為題，試圖梳理《家變》中的時代記憶書寫，以及作家如何從個人的經驗，經過藝術化的「技藝」而呈現。《家變》的敘事角度，乃以一個回憶者的姿態而成，這樣的手法在現今的創作很常見，然而在民國六O年代卻是少有的。其中，《家變》大量的日式建築描述場景──也就是作者幼時所居住的紀州庵，除了見證台灣日治五十年的歷史經驗外，更見證了戰後台灣這塊土地上的集體記憶，融合了不同族群的多種文化。這些文化透過許多寫實的生活「斷片」與「細節」，於小說中如實的呈現。書中的主角范曄，透過成長以及尋父的兩條回憶線，除了拼貼出主角的成長史與創傷經歷，也拼貼出台灣於民國遷台後，早期公務人員的清貧生活，以及宿舍生活的概況，文中透出濃濃且只屬於那個時代的社會氣氛。　　本文於第二章先試論虛擬作者如何以回憶的姿態回顧，及王文興「敘事者和主角最後原是同一人」的目的與可能造成效果為何。第三章，以文本中關於物質上的一些細節與描寫片斷，輔以日治與國民政府遷台所構成的台灣文化史如何的在集體記憶中展現。第四章，分析作家如何以其經驗，並透過字詞記憶的違背、表現主義的手法運用，達到小說詩化與舞台效果的呈現。我們發現，如果《家變》是一齣舞台劇，雖然人物可能是虛構，但布景卻是寫實的，而即便是虛構的人物所構成的虛構故事，卻成功的引起讀者感覺經驗的雷同，勾出某些不能算少數的曾經少年的成長記憶。My thesis talks about one of Wang Wen-hsing’s books, “Family Catastrophe”. I try to make those contents in order of time featured with the topic of “recall” and the spirit of “artistry”. Besides that, I attempt to discuss how Wang artistically presents these contents with his experiences within his life, too. The way Wang wrote the book as a “recaller” is popular these days, but rare in the sixties. Also, the scenes with a number of Japanese architectures, like Kishu Ann where the author lived, witnessed not only the history of Taiwan in Japan-occupied period for 50 years, but also the common memories integrating different cultures among different peoples. These cultures are realistically presented through many pieces in daily life. The main character Fan Ye completed his life with both his growth and his traumas, and projected how servants in government authorities lived their poor life in the dormitories in the sixties. The readers could easily feel the atmosphere of the whole society only at that time. In chapter 2 of this thesis, I try to connect how the author Wang Wen-hsing recalled his life and the purpose as well as the literary effects that Wang wants to tell us that the main character Fan Ye is the author Wang himself first. Next, I would like to introduce the history on the cultures in Taiwan from 1895 to 1960s with expressions of episodes of the character’s stories. In chapter 3, I want to deconstruct the way the author poeticizes and dramatizes “Family Catastrophe” with his life and his own personalized dictions and the spirit of expressionism. We find out that if “Family Catastrophe” is a musical drama, the scenes are real though the characters are “virtual”. However, those “virtual” characters and stories successfully help every reader recall his or her common feelings of those years.
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