查詢結果分析
來源資料
頁籤選單縮合
題名 | 「我們的抽屜是空的嗎?」--聶紺弩的檔案文學="Are Our Drawers Empty?": Nie Gannu's Dossier Literature |
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作者 | 李潔; 王昱; Li, Jie; Wang, Yu; |
期刊 | 中國現代文學 |
出版日期 | 20160600 |
卷期 | 29 2016.06[民105.06] |
頁次 | 頁25-45 |
分類號 | 820.9 |
語文 | chi |
關鍵詞 | 潛在寫作; 檔案; 聶紺弩; 審查; 文字獄; 大躍進; 文化大革命; Invisible writing; Nie Gannu; Archives; Censorship; Great Leap Forward; Cultural Revolution; |
中文摘要 | 我們如何書寫一段閱讀和寫作都處於監控之下的文學史?政治運動是否「扼殺」了作為個人抒情的文學,變藝術為宣傳,變批評為審查?抑或文學仍然能通過有藝術性與思想性的潛在寫作的方式「存活」下來?在作者隨時都可能面臨抄家的時代,任何「潛在寫作」都可能成為作者的罪證被審查和沒收,並且記錄在案。出於烏托邦意識形態的威脅或誘惑,諸多知識分子檔案中所包括的材料,不僅能證明少數人的獨立思考,更能說明知識份子如何與極權妥協。與其將視野局限於「抽屜」─那些在角落和罅隙中的被國家力量所忽視的自由─本文提出「檔案文學」這一範疇,用來指稱代收藏於知識份子個人檔案中的大量文字,包括從作者手中沒收的「潛在寫作」以及日記、通信,也包括揭發、報告、審訊、檢討。這樣一份檔案可包括多位作者和讀者,他們彼此之間未必意識到對方的存在;有的努力躲避監控卻被扣留,有的主動向黨交心或告密。檔案文學因此不僅取決於形式文類或藝術成就,而取決於它和權力的摩擦。「檔案文學」這一概念將視角從反抗轉為妥協甚至共謀,意在關注極權政府如何將寫作和閱讀用於政治監管和思想改造。換言之,檔案文學之所以是文學,是因為文學創作和文學批評不僅僅被極權遮蔽和壓抑,而也常常為政治服務。以作家聶紺弩(1903-1986)的檔案作為案例,我們可以看出一個文人圈子如何成為一個告密者的圈子,文學闡釋如何成為反革命罪的根據,作家如何進行自我審查,黨的號召如何成為文學創作的靈感來源,以及公安人員如何成為心有靈犀的知己讀者。對於檔案文學的詳細分析可以瓦解「好文學」和「壞政治」之間的二元對立,從而更深入地理解知識份子如何在獨裁體制下存活下來。 |
英文摘要 | How are we to write the literary history of a time when reading and writing were subject to surveillance? Did waves of political movements "kill off" literature as personal expression, turning all art into propaganda and criticism into censorship? Or could literature still "survive" in subterranean, marginal, and non-official writings, which Chen Sihe called "invisible literature"? In an era when home searches were common, any "invisible writing" could turn into criminal evidence against its author, subject to confiscation and scrutiny as part of his or her dossier. Under the duress of existential threats or seduced by utopian ideologies, the dossiers of many writers and intellectuals contained not only testaments of courage and autonomous thinking, but also documents of unconditional surrender to the totalitarian regime. Rather than looking only into "drawers" - the nooks and crannies of freedom overlooked by state power - this article proposes the category of dossier literature, which refers to the enormous body of writings collected in individual dossiers. This includes "invisible writing" confiscated from the writer as well as informer reports, interrogation notes, and confessions. Thus a single dossier can have multiple authors and readers that may or may not be aware of one another's existence, some seeking out state power and others hiding unsuccessfully from it. Dossier literature is defined not by form, genre, or literary merit, but rather by its brush with state power, whose representatives are the only ones with a complete overview of a file's heterogeneous contents. Shifting the focus from resistance to complicity, the category of dossier literature calls attention to the ways the totalitarian state subjugated the practices of writing and reading to the policing and revolutionizing of hearts and minds. As I will show with the writer Nie Gannu's (1903-1986) dossier from the 1950s to the 1970s, a poetic circle could turn into an informer circle, literary interpretation could turn into criminal investigation, the author could become his own censor, while the censor could become his muse or the zhiyin reader who "knows the tone." Thus a careful analysis of dossier literature undoes the dichotomy between "good literature" and "bad politics" to paint an ambivalent picture of intellectual survival under dictatorship. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。