空間語境與歷史暴力──論葉石濤1965後復出階段的鬼魅書寫

The Space Context and Historical Violence: Discuss the Ghostly Writings of Yeh Shih-t’ao’s Works After 1965

本論文為筆者鬼魅敘事系列論述之一，主要探討戰後第一代跨語作家葉石濤1965到1971年之間，入獄出獄後的「復出階段」，一系列鬼魅敘事的特殊意義。這一批鬼魅敘事文本雖曾有人討論，但仍停留在文本的內容敘述層次，其意涵與特殊性尚待挖掘與分析。葉石濤在1951年的戰後白色恐怖時期，曾以「知匪不報」被羅織入罪，入獄三年多，這段經歷對他造成致命性影響，使他停筆十多年，到1965年才再度復出。復出階段，他不停歇地不斷創作小說，共寫作了有39篇小說，直到1971年起才暫停小說，轉向台灣文學評論。這個階段一般稱為他的「黑色幽默時期」，除以自然主義風格反映庶民生活之外，很特殊的是他曾集中寫作了這一組〈齋堂傳奇〉、〈墓地風景〉、〈葬禮〉、〈鬼月〉等具有鬼魅特質的小說，都以破碎、詭異、斷片的「空白」，標誌著其文本「未完成」或「無法完成」的延擱狀態。場景強烈的荒謬、錯置，觀看與飲食的意象則散佈其間。本文將試圖說明此一鬼魅敘事開展出怎樣的視覺景觀？它究竟在怎樣的文化與文學場域的空間語境中萌動與開啟？即形塑此一斷裂、空白、延擱形式的鬼魅敘事，它涉及了怎樣的動力與作用的生成關係？又如何藉文本空間隱藏揮之不去的歷史暴力與幽靈纏繞？

This paper is one of my ghostly writing discussion series. It mainly discussesthe exceptional meanings in Yeh Shih-t’ao’s ghostly writings during the yearsof 1965 to 1971. Although these ghostly writings have been discussed by somescholars before, they just talk about the narration in these writings. The meaningand specialty of these ghostly writings are awaited to be carried out.From 1951 to 1954, Yeh Shih-t’ao was in prison during the period of whiteterror. These three years in jail have a fatal impact in Yeh Shih-t’ao’s life, causedhim stop writing until 1965. From 1965, he continuously created novels up to 39pieces of works till he turned to the field of Taiwanese literary criticism in 1971.The stage, from 1965 to 1971, is generally called “the black humor period.” Inaddition to the naturalism works which reflected common people’s life, Yeh Shiht’aoalso created the ghostly writings, include “the legend of monastery,” “the viewof cemetery,” “the funeral,” and “ghost month.” Broken, strange, and fragment“blank” is the key feature in these works, and it indicates that these works are inthe state of “unfinished” or “unable to finish.” Besides, the settings are intenselyirrational and misplaced. The images of looking and eating are spread all over theworks.In this paper, I will attempt to explain what kind of vision the ghostlywritings are carried out? In what kind of culture and literary field do these ghostly writings initiate? The fragmentation, “blank,” and procrastination in ghostlywritings are involved in what kind of power and action relation? How did YehShih-t’ao use text space in his works to hide the lingering historical violence andghostly haunting?