文學與政治在對立統一下的審美超越——林文義《遺事八帖》大散文的歷史書寫

Unifying the opposition between literature and politics through aesthetics–Historical Writing of Lin Wenyi's Great Prose from ''Eight Posts of Forgotten Events''

林文義為臺灣文壇以美文著稱的散文家，其創作歷程從七十年代至今有四十年的歷史。他在2011年出版的還願之作《遺事八帖》被文壇稱為「定音之書」，展現了宏大的創作企圖，又間接呈露了他的生命史、參與過的政治史，實現了他對於大散文「個人化」與「歷史性」兼俱的審美超越。其中涉及到政治創傷如何轉化為文學藝術的創作難度，在其創作歷程中具有十分重要的意義，但學界對之討論卻寥若晨星。 因此，筆者擬以《遺事八帖》為探究中心，從「儀式化的歷史書寫」、「逆溯想像中的歷史鉤沉」、「時代烙印下的共同命遇」、「存在主義的歷史關懷與審美超越」、「大散文的書寫藝術」等幾個面向切入，以見作家在參與政治的過程裡，其思想如何變化？他的大半生究竟是投身文學的孤獨，還是陷身政治的浪費？而最終，他如何回返文學世界，尋求生命的復歸？本文希望透過對本書的探究來釐清林文義參與政治的心路歷程，同時也藉此理解作家如何以審美的營造，敘述政治對自己造成的隱形傷害？如何對政客的機心算計提出其觀察與批判？從而探討本書「大散文」式書寫的審美表現，最後，把它放在文學發展的歷程中，以見林文義對於「大散文」創作的開展與創新。

Lin Wenyi is a prose writer known for his gorgeous prose in Taiwan's literary circles. His creative process has a history of forty years from the 1970s to the present. His votive work '' ''Eight Posts of Forgotten Events''published in 2011 was called the ''Book of tone '' in the literary world. It showed a grand creative intention, and indirectly revealed his life history and the political history he participated in. His aesthetic transcendence of both ''personalization'' and ''historicality'' of great prose. It involves how political trauma is transformed into the difficulty of creating literature and art, which is of great significance in the course of his creation, but there is little discussion about it in the academic circles. Therefore, the author intends to take the''Eight Posts of Forgotten Events'' as the center of investigation, from ''ritualized historical writing'', ''retrospecting the historical hook in imagination'', ''common fate under the brand of the times'', ''existentialist historical care and Aesthetic Transcendence'', ''The Art of Writing in Great Prose'', etc., to see how the writer's thinking changes in the process of participating in politics? Is most of his life devoted to the loneliness of literature, or to the waste of politics? And in the end, how did he return to the world of literature and seek the return of his life? This article hopes to clarify Lin Wenyi's mental process of participating in politics through the exploration of this book, and also to understand how the writer uses aesthetic creation to describe the invisible damage caused by politics to himself? How to make observations and criticisms of politicians' scheming? In this way, we will discuss the aesthetic performance of the writing in the ''big prose'' style of this book, and finally, put it in the course of literary development to see Lin Wenyi's development and innovation in the creation of ''big prose''.