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| Title: | 讀《剪翼史》、重訪「世界文學」圖景中王文興的終極追求
Exploring Clipping Wings: A Chronicle and Revisiting Wang Wen-Hsing's Ultimate Quest within a Vision of ＂World Literature＂ |
| Authors: | 張誦聖
Chang, Sung-sheng Yvonne |
| Contributors: | 臺灣文學學報 |
| Keywords: | 剪翼史;王文興;美學現代主義;福樓拜;戲謔性仿效
Clipping Wings: A Chronicle;Wang Wen-Hsing;aesthetic modernism;Flaubert;parodic mimicry |
| Date: | 2024-12 |
| Issue Date: | 2025-04-07 09:19:56 (UTC+8) |
| Abstract: | 《剪翼史》（2016）是台灣現代主義小說的重要里程碑。這部小說深入探討生命、倫理與信仰問題，並將王文興（1939-2023）一生對語言實驗的追求推向巔峰。作品成熟運用了西方現代主義文學傳統中的寫作技巧，例如藉由「戲謔性仿效」進行道德性的顛覆，或通過游移擺盪的敘述觀點突顯根本性的「認知置疑」。儘管未能在短期內獲得廣泛讀者的欣賞，對某些讀者而言，它提供了震撼心靈的美感體驗。
作者自言，他所矢志追求的是一種「無色無香」的風格，一種在「世界文學」中極少人能征服、也不討好的創新境界。要理解這種追求的真義，需先掌握王文興對「世界文學」的一些基本預設和價值信念。最終，是這個堅實的信念驅使他不惜承受可能的代價（如讀者的冷漠反應）。因此，本文將重點探討王文興在愛荷華創作班所受到的古斯塔夫•福樓拜（Gustave Flaubert）寫實傳統的啟發，以及他為實現、甚至超越這一傳統而設計的獨特敘述策略。
除了宗教層面，王文興對「小說文字」藝術效果的極致追求，實際上可視為一種「宗教信念」的替代品或對應物。這種取向與福樓拜所開創的寫實小說傳統一脈相承，是王文興創作生涯中的一項重要「終極追求」。本文試圖透過艾瑞克•奧爾巴赫（Erich Auerbach）在《模擬：西方文學中現實的再現》（Mimesis: The Representation of Reality in Western Literature）中對福樓拜寫實理念的分析，進一步闡明王文興在《剪翼史》中所追求的「真水無香」的小說語言境界及其與宗教感之間的關聯，特別是兩者與「身體」之間的深層互動，涉及個體（創作和欣賞的生理層面）和群體（符碼化的象徵秩序／社會語言）這兩個相互交織的面向。九○年代中期興起的「情動理論」（affect theory）為這一複雜關係提供了新解讀路徑。因此，本文將其納入討論，以期補充既有研究中的不足。
Clipping Wings: A Chronicle (2016) marks a significant milestone in Taiwanese modernist fiction. This novel delves deeply into issues of life, ethics, and faith, elevating Wang Wen-Hsing's (1939-2023) lifelong pursuit of linguistic experimentation to new heights. The works skillfully employs highly sophisticated writing techniques from the Western modernist literary tradition, such as "parodic mimicry," for moral subversion and highlighting fundamental "epistemic incertitude" through shifting perspectives involving an idiosyncratically conceived "implied author." Although it did not gain widespread appreciation from readers in the short term, for some, it offers a profoundly gratifying aesthetic experience. The author himself states that he is committed to pursuing a "colorless and scentless" style, an innovative realm in "world literature" that few can master or appreciate. To understand the significance of this pursuit, one must first grasp Wang Wen-Hsing's foundational assumptions and values regarding "world literature." Ultimately, it is this unwavering belief that propels him to accept potential challenges, including indifference from readers. Therefore, this paper focuses on the inspiration Wang received from the Flaubertian realist tradition during his time at the Iowa Writers' Workshop and the unique narrative strategies he designed to achieve––or even surpass––this tradition.
Beyond its religious dimension, Wang Wen-Hsing's relentless pursuit of the artistic effect of "innovative language" can be interpreted as a substitute for or counterpart to "religious belief." This approach aligns with the realist novel tradition initiated by Flaubert and represents a significant "ultimate pursuit" in Wang's creative career. Through Erich Auerbach's analysis of Flaubert's realistic ideals in Mimesis: The Representation of Reality in Western Literature, this paper aims to further elucidate the "purist" form of fiction writing in Clipping Wings—described by Wang as "pristine water, with no scent"—and its connection to religious sentiment. In particular, it explores the profound interaction between this writing style and the "body," encompassing both the individual (the physiological dimensions of literary creation and appreciation) and the collective (the codified system of symbolic order and social language). The emergence of "affect theory" in the mid-1990s offers a new interpretive lens for understanding this complex relationship. Thus, this paper incorporates affect theory into the discussion to complement existing research. |
| Relation: | 臺灣文學學報, 45, 1-32 |
| Data Type: | article |
| DOI 連結: | https://doi.org/10.30381/BTL.202412_(45).0001 |
| DOI: | 10.30381/BTL.202412_(45).0001 |
| Appears in Collections: | [臺灣文學學報 THCI Core] 期刊論文
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