| 中文摘要 |
李永平《大河盡頭》以散佈在婆羅洲地表上的族裔、鬼魅、性慾等傳奇元素，揭開殖民和戰後的雨林奇觀和成長故事，開展雨林書寫的大河敘事。從氣勢磅礡卻又幽婉動人的雨林故事，李訴說的家鄉經歷和少年記憶，引導讀者走入他的個人成長世界和婆羅洲經驗。本文試圖從以下兩個部分觀察，一個成長或啟蒙的視點，如何調動可能的敘事部件，構成雨林書寫的特殊視域，以及李永平藉由「文字」重生的重要特徵：一、奇幻的時空體如何覆蓋為雨林的敘事，讓雨林變得可能，展現和召喚一個原始又傷痕累累的婆羅洲世界。二、個人在性和情慾的啟蒙，構成了李永平思考歷史債務的原始場景。透過對性和成長的歷程描述，力比多衝動似已化成歷史傷痕中難以釋懷的債務，構成不可自抑的抒情動力。換言之，《大河盡頭》可以看做李永平選擇在一個傾訴和聆聽的過程裡抽離原初的罪惡，撫平創傷；或更辯證性的說明他必須藉由故事體回到創傷的原址，才能找到自己寫作的存有意義。創傷的書寫視為歷史症狀的賦形，既是療癒，亦屬創造「記憶現場」，大河的溯源因而是敘事必要的開展。
In The End of the River, Li Yongping narrates a story of rainforest and river. With folkloric elements of local tribes, spirits, and desire, he presents a story about his rite of passage in colonial and postwar rainforest. Li's delicately compelling stories about the rainforest reveals his experience in and memory of the old country, leading readers into the world in Borneo. From the perspective of bildungsroman and enlightenment, this study explores how Li orchestrates the narrative to present a unique vision prominent in rainforest stories. The study also focuses on how Li goes through reincarnation via words. The following questions will be addressed. (1) How does an imaginary space substantiate a narrative about the rainforest, simultaneously realizing the rainforest and recalling a primitive but bruised world of Borneo? (2) How does the enlightenment of desire prompt Li to consider historical debts in Borneo? With descriptions of his rite of passage, the libidinal impulse seems to have become an inexcusable debt that is at the same time a lyrical force behind the narrative. As a mnemonic device, The End of River may be read as Li's memoir through which to trace the origins of trauma in the rainforest. Dialectically, Li must revisit the origins of trauma by way of the story, thereby locating the meaning of his writing. Writing about trauma helps to (re)present the history of Borneo; it is cathartic on the one hand and creative on the other. |
本站僅提供期刊文獻檢索。
