於梨華小說創作道路與主題嬗變之研究

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Title:	於梨華小說創作道路與主題嬗變之研究
Other Titles:	Research of evolution for creative road and theme on Yu Lihua’s novels
Authors:	劉秋蘭;Liu, Chiu-lan
Contributors:	淡江大學中國文學系碩士在職專班呂正惠;Lu, Cheng-hui
Keywords:	於梨華;留學生;無根;無根的一代;尋根;覺醒的一代;Li-Hua Wu;returned students;rootlessness;rootless generation;tracing root;and aroused generation
Date:	2010
Issue Date:	2010-09-23 17:13:35 (UTC+8)
Abstract:	五○年代至六○年代前期，西方現代派文學成為臺灣文學的主流，而其中一脈強勁的支流—留學生文學，標誌者一群從大陸流寓到臺灣的留學生，因不滿臺灣的政治與經濟環境，開始繼父輩「政治放逐」之後的「自我放逐」生涯。他們在東西方文化的夾縫中求生存，內心充滿被邊緣化的彷徨與苦悶，形成了一種「無根失落」的情緒，他們的身心始終徘徊在「去」與「留」之間。七○年代後期的留學生文學，因政治、外交、經濟、文化上發生了重大變遷，在主題表現上有了轉變，跳脫了六○年代個人「無根」的苦悶主題，開始將視野推向上一代的歷史，及下一代的未來，它體現了人類對故國、生命本身的回歸與依戀，反映出海外華人「尋根」、「歸根」的渴望。八○年代以後，海外華人作家的創作觸角不斷向外延伸，創作題材不再局限於「留學生」個人，作家的筆觸轉而停留在對「人性的觀照」，藉此向讀者展示不同種族、不同文化背景和文化身份的人在融合後所呈現出的共同的人性問題。於梨華，出生於中國上海，輾轉流寓到臺灣，大學畢業後前往美國留學，她以自身經驗，誠實地描繪海外華人的生活百態及心靈軌跡，被譽為「留學生文學的鼻祖」、「無根一代的代言人」。她秉持著作家的格局要放大、視野要開闊、以及觸角要延伸的心態，在近五十年的創作生涯中，在主題內容上不斷力求深化。她的小說中表達了海外華人「無根的一代」的苦悶、「覺醒的一代」的彷徨與「關注人性」的文化心理，這也是作家個人創作的心靈軌跡。本論文以社會研究、文化研究及內容研究方式，就於梨華本人的經驗及她的留學生小說內容進行分析，依其創作主題意識的歷程區分為「無根」、「尋根」與「歸根」及「關注現實生活」等三個時期，透過各階段的主題精神探討與作品內容析論，希望藉此研究機會，認識這特定時空、特定的一群人所交織出來的文學現象，並重新審視於梨華在臺灣文學史上的定位。 Abstract： Date back to the age of from 1950’s to 1960’s, Western modern literature had been becoming the mainstream of Taiwan literature. However, one of the strongest literary mainstreams paid the weight on literature of returned students, named a group of Chinese pursuing their sophisticated education escaped from China and then fled into Taiwan. As for their unsatisfactory with contemporary political status and economic circumstance, they had initially selected to live on the standard of self-exiled career followed by political banishment inclined to their fathers. They tried to survive between the western and eastern cultures. Their consciousness was occupied by marginalized anxiousness and depression making them feel the statement of rootless emotion. In addition, their mind still remains the statement of contradiction about how to make the decisions between “leave” and “return.” At the end of 1970’s, literature of returned students reflected a permanent alternative on account of politics, diplomacy, economic, culture whose topic of literature transformed from the sorrowful subject of rootless emotion into the expanse of literature perspective traced back the history of former generations and the future of offspring. Not merely did it indicate returned students’ nostalgia toward their lives and original countries, but also reflected overseas Chinese’s desire of “tracing root” and “returning root.” Until the age of 1980’s, writers of overseas Chinese widely created their remarkable works from different angles; importantly, those of which were no longer constrained to the versions of returned students, but transferred it into the particular perspective towards humanity providing readers with an exhibition of human’s problems regarding racial coalition with distinctive races, cultural background, and cultural identifications. Li-Hua Wu, born in Mainland of China, fled to Taiwan and settled down. She was fully educated through American education after obtaining her bachelor in Taiwan. Her works honestly illustrated a variety of overseas Chinese’s life spectrums and spirited trace based on her personal experience, known as “the master of literature of returned students” and “the representative of rootless generation.” By advocating both wild perspectives and different angles of analysis, the topics she conducted were constantly deeply analyzed by means of the experience of 50 years creative writing capability. Her novels conveyed the depression of overseas Chinese, anxiety of rootless generation, helpless of aroused generation, and cultural psychology of concerning on humanity. That is, it could serve writers as creative soul trace. My thesis consists of three methods of research, social research, cultural research, as well as content research, precisely and concisely analyzing the content of Li-Hua Wu’s novels based on her personal experience of being a returned student. Moreover, it is categorized into three sections through the consciousness of creative topic, “rootlessness,” “tracing root,” “returning root”, and “the concern of realistic life.” Besides, it is probed and spiritedly analyzed according to both productions and creative topics. Hopefully by means of the opportunity of conducting my thesis, I could apparently acknowledge the literary phenomenon specific space and certain scholars mutually derive from; above all, looking over and estimating discreetly Li-Hua Wu’s position of Taiwan literature history
Appears in Collections:	[Graduate Institute & Department of Chinese] Thesis

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