左翼烏托邦――劉大任「保釣文學」研究

The Left-Wing Utopia: A Study of Liu Da-Ren's“Baodiao Literature”

本文以「左翼烏托邦」為關鍵詞，梳理劉大任的保釣實踐與文學書寫。從「情迷中國」、「走出神話國」到「左翼烏托邦」的思想轉折與辯證，可謂貫穿劉一生的核心命題。
退出保釣後，劉四度重寫魯迅「黑暗的閘門」意象，標記其省思革命的階段性變化。解嚴後政治社會語境的轉變，則逐步催生劉的烏托邦計劃，座落於「大書」與「園林」的敘事。但其烏托邦要義已非理想社會的描繪，而是一種蓄勢待發、卻無以實現的衝動。
縱觀劉的後期文學生涯，幾乎成為一部保釣的「重述／重複」史，譜寫文學史極具意義的左翼個案。保釣既是取之不盡的靈感之井，也局限其後半生的文學造境，然而無可否認，劉確是以頑強得令人肅然起敬的意志，在歷史的廢墟中持續孤獨的奮鬥。

This essay uses 'Left-Wing Utopia' to describe Liu Da-ren's practice and writings about the Baodiao movement. Liu’s perspectives about the Baodiao movement undergo changes from' Obsession with China' and 'Out of the mythical country' to the reconstruction of ' Left-Wing Utopia '. The dialectic of these concepts is an important proposition throughout Liu's life.
After he withdrew from the Baodiao movement, Liu interpreted and (re)interpreted the concept of Lu Xun's 'Dark Gate' in his essays four times, indicating that his reflections on Lu Xun and the revolution keep changing.
The lifting of Martial Law has gradually given rise to Liu's utopian project, which is implemented in the narrative of the 'Great Book' and the 'Garden'. However, his utopia is not a depiction of an ideal society in the future, but an impulse that is waiting to be realized.
Liu’s literary career after the Baodiao movement almost becomes a history of the 'retelling/repetition' of the Baodiao movement, constituting a very meaningful left-wing case in literary history. There is no denying that Liu did continue his struggle in the ruins of history with a will that was so tenacious as to inspire respect.