解嚴後台灣小說瘋狂敘事研究：以舞鶴、陳雪為觀察中心

Abstract

本研究討論台灣當代小說的瘋狂敘事，以舞鶴和陳雪的小說創作為主要觀察中心。在討論瘋狂敘事之前，首先解釋「現實」概念在不同時代背景、不同文化團體之間所具有的多重指涉，藉著分析不同文化團體與作者間的相互關係，本研究發現在這樣的文化場域內所產生的拉攏和排拒力量，都將影響作家的創作甚鉅。然而，有些作家卻以瘋狂敘事作為一種保持「心靈語言」的方式。本研究主要先找出台灣小說瘋狂敘事的系譜，追溯至六○年代現代主義作家，以王文興為例，他在小說中早已經表現出「理性啟蒙」和「浪漫瘋癲」的雙重意識。在舞鶴的作品中，他藉由瘋癲者被監禁的主題裡繼續「理性」和「瘋狂」相互交纏的雙重結構，並研發出他扭曲的文法，逆轉了「神聖」與「卑賤」的涵意，同時他也自鑄各種新詞，以作為威權時代後的創傷病癥。論文的第二部分討論陳雪的瘋狂敘事，發掘她與前世代女性作家瘋狂敘事的差異之處。不同於奧菲莉亞的浪漫或美杜莎的恐怖形象，陳雪以混亂而不安的精神辯論、循環不已的時間系統表現出創傷的延遲反應。但陳雪的創作不停留於自憐階段，反倒以創傷為媒介，展開集體附魔的發瘋效應。因此，在舞鶴與陳雪的精彩絢麗的文字創作中，我們看見瘋狂敘事多向發展的可能性和差異性。

The study discusses the narrative of madness in contemporary Taiwan fiction, focusing on the works of Wu He and Cheng Syue. The study starts with an interpretation of the multiple meanings of “reality” in different eras and backgrounds, as well as the diverse understandings of “reality” among different cultural groups. By analyzing the relationships between opposite cultural groups and writers in the Post-Martial Law era, the study finds out that the strengths of both alliance and repulsion inside the cultural field greatly influence literary writings; some writers, however, utilize the narrative of madness to retain “language of the mind.” The main part of the study discovers the genealogy of the narrative of madness in Taiwan by tracing back to the modernist generation in the 1960s, including Wang Wen Hsing, who shows double consciousness of “enlightenment reason” and “romantic madness.” My study then aims at the theme of “confinement” in Wu He’s works, since he extends the dual structure of “reason” and “madness” through the concept of “confinement.” Besides, Wu He develops a distorted grammar to converse the concepts of “sanctity” and “ignobility” and creates new phrases to show the symptoms of trauma after the authoritarian era. The second part of the study is to analyze the narrative of madness of Chen Syue, discussing the differences of expressing madness between her and the female writers of the earlier generation. Unlike the romantic figures of Ophelia and the horrible images of Medusa, Chen Syue’s works show the belated traumatic affects with anxious debates and circulating systems of time. Furthermore, Chen Syue’s writings do not stop at the stage of narcissism, but rather reveal the mediating function of trauma which triggers madness. Therefore, in Wu He and Cheng Syue’s works, verbal extravagance displays diverse possibilities and aspects of the narrative of madness.