劃界與定位─戰後小說再現的中華民國

Abstract

空間敘事是一種型塑想像共同體的重要工具。在大中原中心的意識型態之下，戰後初期台灣小說的地理軸心多是向大陸傾斜，不管故事發生的地點設置在大陸、台灣本島或離島。文化政策非常有意識地鼓勵引導創作者去書寫金馬澎湖，以烽火邊境的戰區形象強調現實政治轄區裏的界線，讓晚近形成的中華民國版圖建構人民新的國族想像與認同。相對離島書寫，較不被文化政策青睞的台灣本島，在文本再現中輒以現代化建設改造後富裕空間形象佐證政府施行的政策，鞏固所謂模範跳板、反攻基地的定位。為了呼應官方的空間政治論述，遷移來台未久、對地理環境和人文歷史都還相當的外省寫手們不免大量借助空間符號，以政治性地景地標或標語掩飾難以寫實的困境。雖然少數的文本已經透露出在現實環境中，外省移民如何慢慢建立生活網絡，透過社區或社群的互動支援發展出地方感，對台灣的地景和文化開始產生理解和親切感。遺憾的是，即使僅僅是在文本想像中，新移民的在地夢始終不能逾越國族主義加英雄主義等宏大論述的雷池。

Space narrative is an important tool to shape the imagined community. Under the ideology of great continent, the geographical axis of the early postwar fiction usually tilts toward mainland China, no matter where the story occurred. The government’s cultural policies intentionally encourage and guide writers to write about Kinmen-Matsu and Penghu so as to create a border war zone image to emphasize the political borderline in reality. The underlying purpose behind these actions was to build a new identity and shape national consciousness of the newly formed territory of Republic of China for its people. Opposite to outlying island writing, government’s cultural policies are comparatively in less favor of those works about Taiwan, the main Island. The image of the main island usually is portrait as a modernized, wealthy, fully built space that proves the righteousness of the government’s administrative policies in order to consolidate the so-called “role model”, picturing it as the springboard of strike back and positioning it as the base of counterattack. To echo the official space narrative, mainlander writers, who just moved in Taiwan not very, are unfamiliar with the geographical location, the overall environment as well as the history and cultures of the natives, they inevitably make use of a massive amount of space symbols, especially political landscape, landmarks and even slogans to cover up the difficulty of writing about realism. Although a few texts already express some extend of reality, how mainlanders have gradually, slowly build up their social networks and how through the interactions between communities and groups, they have developed the sense of space. As a result, a sense of understanding and intimacy to Taiwan’s landscapes and culture was formed. It’s a pity that this local dream state scenario can only exist in the imaginary world within the text itself as the new comers would not dare to surpass the space narrative of government’s greater perimeter - nationalism and heroism.