| 摘要: | 摘 要
本文於新世紀重讀上一世紀具有指標意義的兩家舊作，旨在提供與時俱進的正向新思考：其一，以可觀的鄉愁藝文成果來補憾新儒家所謂的「花果飄零」之嘆，並證成後期的「零根自植」之況；其二，藉由社會學的族群認同研究所得，揭示飄零際遇者因離散而「開枝散葉、落地生根」的積極繁衍意義。
本文所取樣的兩家舊作，分別是琦君的小說《橘子紅了》、王童的劇情片《紅柿子》。兩者雖在世代、性別、藝文載具上有所不同，但卻同屬外省族群，同樣先後依用抒情傳統習慣的草木意象、色彩心理，展開以女性為主的離散敘事。本文試從兩篇本土的文本出發，連結相關他作之餘，更進一步分析比較，終而回歸同情理解心態的「人文關懷」；一方面緩衝政治現實的對立批判，另一方面也樂觀展望新鄉土系譜的文學未來。
;A fruitful result of nostalgia- a diaspora narration of female by QI Jun and Wang Tong
Nostalgia has been the common theme in Taiwanese literature for years. The Taiwanese went through the rulings of the Dutch, the Ming Zheng Dynasty, the Chin Dynasty, the Japanese, and the Communist Party; besides, Taiwan has both island and continent culture because of the location. Therefore, people around Taiwan have shared their “history memory” and “space emotion” together. So the word “nostalgia” includes four subjects- Time, Memory, Space, and Identity.
The nostalgic writer “QI Jun” in 1950s and the movie director “Wang Tong” in 1980s are each the first and second generation of the mainland Chinese. They made the time marks of this island by words or images, from different genders’ point of view. Though there’s a period of time between the two works’ backgrounds, they pass down and correlate to each other, reflecting a new vision of Taiwanese literature. Returning home or settling down? Obviously, QI Jun and Wang Tong have different explanations of nostalgia and also have different ways of showing diaspora.
The two writers use two kinds of fruit, oranges and persimmons, in their works. This kind of “plant literature” also includes the idea of space and land. The researcher tries to demonstrate the fruitful result in nostalgia of Taiwanese literature by studying QI Jun’s and Wang Tong’s works.
The researcher analyzes the commons and differences of “The Oranges Are Turning Red” and “The Red Persimmons” from the topics (fruit and color), time (writing of memory), space (the transformation of Taiwanese literature), diaspora (turning home or settling down), and narration ( by words or images). Readers or viewers can find the emotional turnings of the first and second generations of the mainland Chinese, the transformation of country identity, and the change of art narration. This study presents a new vision of Taiwanese literature- a new way to interpret an old version. Most importantly, it not only starts from a local text but goes back to “the beauty of humane concern”. |
