用情慾延宕虛無－－以沈從文〈看虹錄〉、〈摘星錄〉、〈新摘星錄〉一組文本為中心探析

Lust delay Nothingness: Shen Congwen’s“Kan Hong Zhai Xing Lu”

〈看虹錄〉、〈摘星錄〉、〈新摘星錄〉為沈從文1940年代初期的作品，在當時成為文壇攻訐對象，卻成為當代沈從文研究者的必讀文本之一。細讀〈看虹錄〉、〈摘星錄〉、〈新摘星錄〉，可以發現沈從文在其中建構了一個感官經驗與記憶交錯的世界，對外抗拒了抗戰時期國族主義愛國文藝模式下的社會論述和文學創作；對內則承襲並轉化其文學一貫的戰爭傷痛、虛無感、性愛等主題，產生多重文本的連結對話。因此，本文以〈看虹錄〉、〈摘星錄〉、〈新摘星錄〉為中心，除探討其中的「情慾」與「空間」，亦涵蓋沈從文的文學創作歷程，延伸沈從文如何以〈看虹錄〉、〈摘星錄〉、〈新摘星錄〉展示屬於他的文學空間，並實現其文學觀與文學創作的理念。

Kan Hong Zhai Xing Lu' is Shen Congwen's work in the early 1940s. It was attacked by leftist literati such as Guo Moruo, but it has become one of the must-read texts for contemporary Shen Congwen researchers. Carefully read 'Kan Hong Zhai Xing Lu', we can find that Shen Congwen constructed aworld in which sensory experience and memory were intertwined, resisting the social discourse and literary creation under the nationalist patriotic literary model during the WW2. Transforming his literature's consistent themes of war pain, nihility, and sexuality, creating a multi-text connection dialogue. Therefore, this article centered on 'Kan Hong Zhai Xing Lu'. In addition to discussing the 'lust' and 'space' in it, it also covered Shen Congwen's literary creation process, and extended how Shen Congwen used 'Kan Hong Zhai Xing Lu' to show what belonged to him. The literary space realized Shen Congwen’s literary concept and literary creation, against the trauma of war and the nothingness of life.