現代‧儀典‧在地感——鄉土敘事之轉變：以王文興〈海濱聖母節〉與吳明益〈虎爺〉為例

Modern, Ceremony, and Sense of Place–the Conversion of Local Narration: A Comparison of Wang Wenxing's the Seaside Matsu Festival and Wu Mingyi's the Master Tiger

九○年代以降，新鄉土小說蔚然成形，無論在內容根植於前行作家的鄉土書寫上，進行推陳出新；亦或在形式統攝寫實與現代派，進行繼承超越，可見文學業已邁向另一個歷史階段。本文主要關注於六○年代現代派小說與九○年代新鄉土小說的鄉土書寫，並以王文興〈海濱聖母節〉（1962）與吳明益〈虎爺〉（2001）為研究對象，鄉土書寫迭經時空遷變的歷史際遇和文化語境，縱然書寫相似題材，在敘事上恐怕存在新舊世代差異，又作者自身所帶出菁英文化書寫典範的移轉，俾以描墨鄉土於新舊世代所呈顯繼承與創新之處，藉資觀察現代主義與鄉土敘事模式的衍異。 After the 90s, neo-natives have formed and developed. It is not merely innovating in the narration of the local novels, but inheriting and surpassing in the style of realism and modernism. We can see the literature has thumbed through a new leaf. From the examination of local narration, Wang wenxing's the Seaside Matsu Festival and Wu mingyi's the Master Tiger, shows these two fictions exists the difference between old and new generation in local narration which pass though the history and culture; furthermore, writers with intellectual culture transfer writing model. So we can see the conversion between mordern novels in the 60s and neo-natives in the 90s, and try to descript the process of innovation about modernism in local narration.