美学的“归置”——琦君在文学史编纂之间

Placement in the Context of Aesthetics——The Comparison of Qi Jun’s Structural function in Different Compilation of Literary History

以往针对作家琦君的研究多根据作品内容展开,论文试图调整“焦距”,将琦君作为移动的焦点,关注其如何在两个文学场域的文学史建构中,得到差异分明且颇具意味的论述,进而从文学史的内容触及对文学史编纂本身的反思。探索琦君如何作为一种“美学范畴”的代表,被文学史的场域结构与书写逻辑归置,在大陆论述中被视为古典与“五四”传统的继承者,赋予文艺美学的中心位置,在台湾论述中被视为背离官方的抵抗者,赋予反中心主义的边缘位置,并从各自角度获得了“文学正当性”。最后,试图揭示作为“知识话语”的文学史书写中一种“脱离-送回”的往复运动,以此观照时间-历史意识下两岸殊途同归的书写逻辑。进而,纳入“空间”的横向视野,通过“复写”与“重写”的关系来探索另一种书写可能,希望引发更多关于统合性论述的思考。

The paper probes into Qi Jun,a well-known woman writer from Taiwan.Most related research towards Qi Jun used to focus on the content of her works.The two sequences of the text are involved chiefly in this paper,the literary history construction of two literary fields,taking Qi Jun as a moving focus via the adjustment of“focal length”.Furthermore,the research object is reached from the content to the compilation itself.The exploration of how Qi Jun is represented as a kind of“aesthetic category”,what kind of“aesthetic position”is given by the field structure and writing logic of literary history,and seeing as a successor of classical and“May Fourth”tradition from the exposition in China's Mainland.Occupied as the central position of literary aesthetics,Qi Jun is regarded in the exposition of Taiwan as the resister against the authorities and positioned as the edge location of anti-centrism and therefore obtains the“literary legitimacy”from respective angles.Finally,the thesis attempts to reveal a kind of“disengagement-return”reciprocating movement as a“knowledge discourse”in the writing of literary history so as to show the same logic of the both sides under the time-historical consciousness.Furthermore,the horizontal perspective of“space”is tried to be incorporated through the relationship of“duplicating”and“rewriting”to explore another writing possibility,hoping to trigger more reflections about the convergence exposition.