論王文興文學的現世性 ──以《家變》的族群書寫為考察中心

Interpretation of Wang Wen-Hsing’s Worldliness: A Discourse on the Ethnic Writing in “Family Catastrophe”

戰後主流人文主義不涉政治的批評實踐，其基本的前提是假設文本是 「一個理想的世界」、是「一個由完全相同具有永恆價值的作品構成的世 界」，基於這樣的假設進行的批評實踐，致力於闡述文本與現實無涉的永 恆價值，卻忽視了文本作為一種力量體系的事實，因為文本就處在世界之 中，文本必然反映受到環境、時間、地點和社會所約束，因而衍生各種利 益、價值立場的衝突與對話。 本文的目的在以《家變》中的族群書寫所涉及的「世事性」為例， 揭示這些「被文本的文本性所支配、取代或壓制的聲音」以及「人性因 素」，怎麼在這種主流人文主義的批評實踐中，被族裔中心主義、新古典 現代主義等「居統治地位的文化」壓抑、收編的文化政治。

 

The dominant criticism of humanism after WWII grounded on the presupposition that a text represents “an ideal world constructed by universal and eternal values.” The devotion of such practice of criticism is to elucidate the eternal value that the content of a text is independent of reality. However, this supposition neglects the fact that the text itself is a field of forces. A text, as a composition and derivative of the dynamic world, must reflect and be restricted by the environment, time, place, and society. Thus, a text involves conflicts and negotiations due to different values and positions. The purpose of this essay is to highlight the “worldliness” in the writing about ethnics in Family Catastrophe, a novel written by Wang Wen-Hsing, and furthermore, seeks to reveal the complications in the dominant criticism of humanism: the voices and humanity that are repressed or replaced by the textuality of the text are, in fact, suppressed and incorporated by ethnocentrism and neoclassicism