閻連科《聊齋本紀》桃花源敘事的「擬造」力

On the“Fabulation”Power of Peach Blossom Spring Narrative in Yan Lianke’s The Annals of Liaozhai

德勒茲哲學「擬造」（fabulation）在文學小說的應用，強調「敘事」（說故事）所引發之流變（becoming）與轉化力量的美學能力。本文分析閻連科《聊齋本紀》小說，聚焦於閻連科桃花源敘事的特質及其寓意，並以德勒茲的「擬造」哲學來探討小說中顛倒的禮儀秩序與超現實時空邏輯，從中考察其故事重構與新創想像的內涵。本文認為，閻連科在《聊齋本紀》的桃花源敘事緊扣對「本源」與原初的思考，同時，在文本中作為桃花源的「歡樂國」，其特殊的時空邏輯與禮儀秩序也在歷史與非歷史之間開闢第三時間，既超越又依附現實與歷史。此外閻連科在「歡樂國」允許萬物多重性生發與連結之可能，形成一種德勒茲意義上的「一致性平面」，從而展現出他書寫「不真之真」的嘗試。

The application of Gilles Deleuze’s philosophy of“fabulation”in literary fiction emphasizes the aesthetic power of“narration”(storytelling) to provoke“becoming”and transformative forces. Based on this perspective, this article analyzes Yan Lianke’s novel The Annals of Liaozhai (liaozahi benji), focusing on the characteristics and implications of Yan's Peach Blossom Spring narrative. Using Deleuze’s philosophy of“fabulation,”it examines the novel’s subverted ceremonial order and surreal spatiotemporal logic, exploring the connotations of its rewritten and reimagined storytelling. The study argues that Yan Lianke’s Peach Blossom Spring narrative in The Annals of Liaozhai is deeply rooted in reflections on“origins”and the primordial. Meanwhile, the Land of Joy (huanle guo) of Peach Blossom Spring, as depicted in the text, opens up a“third time”between history and non-history through its unique spatiotemporal logic and ceremonial order, transcending yet also relying on reality and history. Furthermore, in this utopia, the possibility of multiplicity and connection among all entities emerges, forming a Deleuzian“plane of consistency,”thus showcasing Yan Lianke’s endeavor to write“unreal reality.”