跨國資本主義與理性化精神：論王禎和與黃春明筆下的中小企業主原型

Transnational Capitalism and the Spirit of Rationality:The Prototype of Entrepreneurs in Wang Zhenhe’s and Huang Chunming’s Works

王禎和與黃春明在近年來的研究中，多半被放置在後殖民的理論框架下重新詮釋，本文則回歸到現代化與資本主義的脈絡，關注二人小說中較少人論及的角色類型──中小企業主「原型」。以〈那一年冬天〉（1969）與〈寂寞紅〉（1971）為例，本文認為王禎和筆下的市鎮小商人具有現代企業經營的理念與雄心，雖然經營的是小本生意（小書店或草蓆買賣），但卻試圖帶入企業經營的理念，甚至展現出拼鬥、冒險、算計、自利的中小企業主性格。黃春明早期的作品大多關注鄉村或來自鄉村的小人物，但他1975 年的作品〈小寡婦〉卻以在一個在美國受高等教育，對現代廣告與市場行銷瞭然於心的知識分子馬善行為主角。馬善行雖是經營傳統的色情產業，卻有如現代企業的經營者，展現出極度的理性化精神與不斷擴大企業版圖的雄心。本文認為這些類似中小企業主的角色，以及流露出的理性化、冒險與拼鬥的精神，反映了臺灣在跨國資本主義的影響下，一部分人的精神結構；而由於這些角色相當程度上是作家本身生活經驗的投射，因此不論小說人物是正面或負面，王禎和與黃春明都對其表現出一種曖昧的態度。

In recent studies, researchers tend to reinterpret Wang Zhenhe’s and Huang Chunming’s works through post-colonial points of view. This paper, however, returns to the context of modernization and the development of capitalism in Taiwan, re-examining the prototypical entrepreneurial characters in these two writers’ works. Wang’s two short stories “That Year’s Winter” (1969) and “The Lonely Red” (1971) depicted the modern entrepreneurship of small town businessmen despite the size of their businesses, and suggested that these “prototypical entrepreneurs” attempted to incorporate the ideas of modern management and exhibited self-interest, risk-taking, and rational calculation. Similarly, Huang’s “The Little Widows” centered around the protagonist Ma Shanxing, an intellectual educated in the United States who specialized in management, marketing, and advertising. As an entrepreneur in the story, Ma sought to modernize the local sex business in order to compete with other rest-and-recreation areas founded throughout Asia during the Cold War. Along the process of executing his project, Ma vividly demonstrated the spirit of rationality that modern capitalism dictates and the entrepreneurial ambition to expand and upgrade his enterprise. These characters reflect the thinking and feelings that a select group of Taiwanese people experienced during the rapid development of transnational capitalism. Since these characters mirrored the writers’ life experiences, they were portrayed ambiguously.