寫實敘事的意識形態與市場機制的再現：論宋澤萊、林雙不的農民小說及其政治轉向

Realisms, Ideology of Form and Mapping the Market: On Lin Shuangbu's and Song Zelai's Peasant Fiction and Their Political Tum

臺灣長期不當的農業政策導致農村的沒落、人口的流失與城鄉的差距擴大，這些現象在1970年代益發明顯，並在新一代農民文學作家，如林雙不與宋澤萊筆下，有深刻的反映與記錄。針對臺灣1970與80年代的農民小說，研究者多半檢視文學作品如何反映農村的經濟現實或關注作品呈現的農民形象，本研究則以林雙不與宋澤萊的農民小說為考察對象，探討二人不同的寫實主義敘事策略、不同形式所隱含的世界觀或「形式的意識形態」、以及不同形式制約下，所反映的不同面向的現實。林雙不的農民小說集《筍農林金樹》（1984）採用「寓言式」的寫法，立基剝削者與被剝削者的二元對立模式，故小說難以處理資本主義體制與產銷關係的結構性問題。宋澤萊的〈笙仔與貴仔的傳奇〉（1978）與〈友樂村豬仔末日記〉（1979）則結合寫實主義與章回小說的形式，不只指出剝削者（如商人）的存在，並且拼貼出資本主義市場牽一髮而動全身的網路，呈現出農民的最終壓迫者其實是市場制度本身。當學者多從歷史、傳記、主題分析的方法切入農民文學的研究時，本研究參照詹明信的馬克思主義理論，以敘事形式與意識形態的角度切入，重新關注寫實主義小說的形式問題。 Due to the inappropriate government policy on agriculture in Taiwan, the decline of agricultural sectors, the migration of rural populations, and the widening discrepancy between urban and rural development have become increasingly prominent issues since the 1970s. Responding to the crises, a new generation of writers such as Lin Shuangbu and Song Zelai attempted to represent and document these agricultural problems in their peasant fiction. While most preceding research focused on the images of peasants in peasant fiction and their represented social reality, this project shifts its focus to the narrative form and the ideology of form, as well as to the consequential representational modes of different realisms. Lin Shuangbu's Lin Jinshu, the Asparagus Farmer (1984), combines realism with the genre of fable, stipulating the binary opposition of good and evil and therefore failing to capture the dynamics of the market. Song Zelai's 'The Legends of Xiao Gui and Xiao Sheng' (1978) and 'The End of the World for the Pigs in Youle Village' (1979), on the contrary, combine modem realism with the traditional Chinese novelistic form, succeeding in mapping out the complex network of the modem capitalist free market and going beyond the binary opposition between the oppressor and the oppressed. Based on the theory of American Marxist Fredric Jameson, this project inquires into the epistemic aspect of peasant fiction, rethinking the global network of capitalism and the possibility of change in an exploitative system in which the exploiter has obscured his own face.