郭良蕙《臺北的女人》與1980年代 的「臺北人」系譜

Guo Lianghui’s “Taipei Women” and the Genealogy of “Taipei People” in the 1980s

郭良蕙1980年發表的短篇小說集《臺北的女人》，在她的創作生活中 具有相當重要的意義。事實上，郭良蕙本人並未談論過自己的創作與白先 勇文學的關係。然而透過《臺北的女人》之文本分析，該書與《臺北人》 對話的軌跡竟隱然浮現。本文也將嘗試討論《臺北的女人》與《臺北人》 之間因創作者的性別與背景屬性，所呈現的張力與其意義。 本文發現，郭良蕙重回文壇，正是以淡化省籍色彩、強調普遍「寂 寞」心情的宣傳策略。而從內容的分析，討論郭良蕙《臺北的女人》之文 本本身，形成了與男性評論家之間的反駁與論述，因此對白先勇《臺北 人》具有獨特的挑戰性意義。筆者希望本文提示1980年代讓郭良蕙受到主 流文壇歡迎的歷史語境，並分析白先勇《臺北人》作為一種系譜的文學史 意義

 

Guo Lianghui’s collection of short stories, “Taipei Women” published in 1980, is of great significance in her creative life. In fact, Guo Lianghui himself has not discussed the relationship between her creation and Bai Xianyong’s literature. However, through the analysis of the text of “Taipei Women”, the track of the dialogue between this book and “Taipei People” unexpectedly emerged. This article will also try to discuss the tension and meaning between “Taipei Women” and “Taipei People” due to the gender and background attributes of the creators. This article finds that Guo Lianghui’s return to the literary world is precisely a propaganda strategy that dilutes the color of the mainlanders and emphasizes the general “loneliness” mood. From the analysis of the content, the discussion of Guo Lianghui’s “Taipei Woman” text itself forms a rebuttal and argument with male critics. Therefore, it has a unique and challenging significance for Bai Xianyong’s “Taipei People”. I hope that this article will remind Guo Lianghui of the historical context that made Guo Lianghui popular with mainstream literary circles in the 1980s, and analyze the literary historical significance of Bai Xianyong’s “Taipei People” as a genealogy