方娥真创作历程与作品析论（1977-2007）

Toh Soon Ngu — Sat, 20 Apr 2024 00:00:00 +0000

方娥真的创作成果丰富，迄今共有诗集二部，散文八部以及小说八部，总计十八部。而她的文学创作生涯可分为两个阶段，第一个是一九八O年之前她在台湾以及马来西亚等地的文学创作发表，后结集出版成书。第二阶段是一九八O年九月以后，方娥真与温瑞安等人因故被台湾国民党政府驱逐出境，流落香港。此后，她在香港重新创作并出版文集。本文尝试从其创作历程中探勘她两个创作阶段的不同特色。藉由方娥真的诗与散文分析可知，她早期喜欢对镜书写与幻想，但第二阶段的创作心理已大有转变，体认到现实人生里的“真”。而从小说来看，第一阶段《画天涯》允为成长小说的佳作，而第二阶段的〈火葬〉与〈窗外少年〉，对于人性与情欲书写，有更进一步的拓展。方娥真写作历程最关键的转变是到了香港，她在香港时期的书写，大多投射了在台湾蒙冤入狱的阴影。本文认为她第二阶段虽然也写通俗小说，但对于纯文学仍然有所坚持，她的整体成就仍是值得肯定。

Fang e-zhen has an abundant creative output. So far, she has two collections of poems, eight collections of prose and eight fictions, totaling eighteen collections. Her literature creation career can be divided into two stages. The first was the publication of her literature creations in Taiwan, Malaysia and other places before 1980, which were later collected and published in a book. The second stage was after September 1980. Fang e-zhen, Wen rui-an and others were deported by the Kuomintang government of Taiwan for some reasons and lived in Hong Kong. Thereafter, she re-created and published anthologies in Hong Kong. This article attempts to explore the different characteristics of her two creative stages from her creative process. From the analysis of Fang e-zhen’s poetry and prose, her early days, she liked writing in front of the mirror and fantasizing, but in the second stage, her creative psychology has changed greatly, and she has realized the "truth" in real life. From the perspective of fictions, "Painting the End of the World" in the first stage can be regarded as a masterpiece of coming-of-age fictions, while "Cremation" and "The Boy Outside the Window" in the second stage have further expanded the writing on human nature and passion. The most critical change in Fang e-zhen’s writing process was her arrival in Hong Kong. Most of her writings during her time in Hong Kong cast the shadow of being wrongly imprisoned in Taiwan. This article believes that although she also wrote popular fictions in her second stage, she still insisted on pure literature, and her overall achievements are still worthy of recognition.

Keywords: Fang e-zhen, Literature, Fiction, Prose, Poetry

在归属与抗议之间的“抵抗之仪” ——读白瑨的《归属之仪: 马来西亚槟城华人社群的记忆、现代性与身分认同》

Loi Chen Hwee — Sat, 20 Apr 2024 00:00:00 +0000

有别于历史人类学的视角，以及笔者专业的限制，本文尝试以当代儒家研究者所关切的课题来参阅本书，或可提供另一种阅读角度，意即：儒家的礼仪和谐观如何与歧见共存，甚至在必要时，“抗议之礼仪”（rituals of protest）是如何可能的。《归属之仪》为我们展示了代代马来西亚华人归属斯土之恳望，但是，华人于斯土仍旧是“归属”不得且“抗议”无力时，“抵抗”才更符合进退不得的生活现实，也因此，本文将此题名为“抵抗之仪”来展开。本文拟从两方面来阅读：1. 礼仪实践的必要及其目的、2. “抵抗之仪”的局限；前者梳理该书关涉到礼仪实践的脉络，后者则是在前者的基础上进行审思。

Unlike the perspective of historical anthropology and the constraints of one's own profession, this review attempts to refer to this book in terms of a subject of concern to contemporary Confucian researchers, which may provide an alternative reading, namely: how can a harmonious view of rituals coexist with disagreement in a Confucian perspective? And even, if necessary, how "rituals of protest" are possible. Rites of Belonging shows us the aspirations of the Malaysian Chinese to belong to the land, but the situation of the Malaysian Chinese is still one in which neither belonging nor protesting is possible, but resistance is more in line with the realities of life, which is why this review is titled "rituals of resistance". The review is intended to be read from two perspectives: 1) the necessity and purpose of rites, and 2) the limitations of the "rituals of resistance"; the former organizes this book about the practice of rituals, while the latter is a reflection on it.

Keywords: Ritual practice, Rituals of protest, Accommodation of disagreement

ERUDITE: Journal of Chinese Studies and Education

方娥真创作历程与作品析论（1977-2007）

在归属与抗议之间的“抵抗之仪” ——读白瑨的《归属之仪: 马来西亚槟城华人社群的记忆、现代性与身分认同》