尋找「梵林墩」：論尉天驄六、七〇年代的思潮辯證與文學實踐

尉天驄（1935-2019）雖是戰後台灣文壇在「現代主義文學引介」及「鄉土文學論戰」等文學活動的要角，然而過往對尉天驄的關注多聚焦文季社群，或「民族主義」、「現實主義」及「反現代」等文學觀的討論，難免形成一種單一面向的觀察視角。事實上，尉天驄一方面提出對現代派與西化觀念的批判與反思，另一方面其對西方現代思潮的關注一直用力甚深。從六、七○年代尉天驄的文學活動與寫作可知，其相當程度接受存在主義思潮的理念與寫作的風格，並將其轉化成自身文學思想、創作，乃至人生觀的重要養分。若從其新世紀後出版的諸部著作來看，尉天驄對現代主義、存在主義左翼理想都有著持續性的思考，尉天驄與存在主義的關係亦不應只以對立面的關係簡單視之。透過集結其六○年代小說的《到梵林墩去的人》，探究小說當中的文學思潮的元素與展現的文學面貌，是考察尉天驄文學發展及意義的重要路徑。因此，本論文希望透過重新梳理尉天驄六、七○年代的文學活動、文學論述及文學創作，進一步考察戰後台灣具左翼色彩的文學社群與世界文學思潮之間的關係。

Although Tian Cong Yu (1935-2019) was an important figure in postwar Taiwanese literary circles in literary activities such as the“Introduction of Western Modernist Literature”and the“Nativist Literary Debate.”However, in the past, most of the attention paid to Tian Cong Yu in academic circles focused on the Wen-ji Literary Group, or on discussions of literary concepts such as“nationalism,”“realism,”and“anti-modernity,”presenting a single-dimensional observation perspective. In fact, on the one hand, Tian Cong Yu proposed criticism and reflection on modernism and Westernization concepts; on the other hand, he still continued to pay attention to and conduct in-depth research on Western modern trends of thought. From Tian Cong Yu’s literary activities and writings in the 1960s and 1970s, we can see that he accepted the ideas and writing style of existentialism to a considerable extent, and transformed them into important nutrients for his own literary thoughts, creations, and even his philosophy. From the study of Tian Cong Yu’s various works published after the new century shows that he had continued thinking about modernism, existentialism, and left-wing ideals. Therefore, the relationship between Tian Cong Yu and existentialism should not be just that of opposites. By gathering his fictions from the 1960s, The Man Who Goes to Fan Lin Dun, and exploring the elements of literary trends and the literary aspects presented in the fictions, it is an important way to explore the development and meanings of Tian Cong Yu’s literature. Therefore, this essay hopes to further examine the relationship between postwar Taiwan’s left-wing literary community and world literary trends by re-examining Tian Cong Yu’s literary activities, literary discussions, and literary creations in the 1960s and 1970s.