Hou Mao Zedong shi qi Zhongguo da lu xiao shuo de Wutuobang shu xie yan jiu.

一九七六年，隨著毛澤東逝世和「四人幫」倒台，中國共産黨在一九七七年宣布歷時十年的「文化大革命」正式結束，標誌了中華人民共和國後毛澤東時期開始。政治上，中國共產黨中央委員會放棄了過去以階級鬥爭和群衆運動爲主導的治國方針，將工作重點放在經濟建設上。對於向來和政治關係密切的中國文學界而言，「文革」的結束意味著官方意識形態高度干預文學創作的時期正式告終，「新時期文學」的發生乃二十世紀中國文學繼五四運動以後的另一次重大轉折。後毛澤東時期的中國文學主題紛陳多樣，絶非三言兩語所能概括。不過，對共和國歷史進程的重現及反思可謂始終貫串於當代小說的主題。按照馬克思唯物史觀之觀點和毛澤東的詮釋，中國在革命成功後將會由「一窮二白」的國家，逐步邁向「各盡所能，按需分配」的「共産主義烏托邦」；然而爲了儘早實現共産主義而發動的各種「烏托邦運動」卻導致動亂與災難。歷史在「應該如何發生」與「實際如何發生」之間産生了巨大的落差，既吞噬了無數擁抱革命的生靈，亦叫生者留下難以磨滅的傷痛。在各種以歷史進程爲反思對象的小說中，有一個面向經常被文學史家忽略。這些小說以烏托邦書寫的文學形式，透過文字來虛構各種烏托邦（更多時候是惡托邦），表達了作家對晚清以來中國追求理想社會的歷史回顧，對烏托邦運動的本質深入省思，甚或設想中國歷史發展的另類可能出路；此類作品在後毛澤東時期的小說版圖中別樹一幟。本文旨在深入考察具有烏托邦書寫特徵的中國大陸當代小說，讓這個面向重新進入文學史家的視野。本文共分六章。第一章緒論部分，介紹本文的研究背景及烏托邦的意涵，簡述其在中西方的歷程，然後解說烏托邦書寫的定義；進而回顧前人研究，闡釋本文研究目的、意義、範圍及方法。第二章至第五章爲本文核心部分，引入相關文學及文化理論，探討後毛澤東時期中國大陸小說烏托邦書寫的各種表現。第二章討論莫應豐《桃源夢》的惡托邦書寫，分析小說怎樣敷演一場從烏托邦追求而起，以惡托邦告終的悲劇，考察它如何達成批判儒家「大同」社會烏托邦及「文革」烏托邦運動的雙重目的，並如何回應了一九八零年代中國小說所關懷的主題。第三章分析李佩甫《羊的門》，探討李佩甫如何在文學主題多元的一九九零年代，以烏托邦書寫思考在共和國的歷史進程中，農村的烏托邦之路應該怎樣走；以及他對中國前途存在的困惑。第四章探討閻連科《受活》，這部在新世紀備受關注的小說不單呈現了烏托邦和樂園之間的角力，同時展示了閻連科的反烏托邦立場，批評了在後毛澤東時期仍然深具影響力的革命意識形態。第五章對格非在新世紀推出的「烏托邦三部曲」進行整體性探討，分析當中的反烏托邦書寫策略，以及小說如何呈現後毛澤東時期那種充斥虛無主義和享樂主義的「後烏托邦狀態」，亦會兼及格非如何看待各種烏托邦運動下的個體聲音。第六章為總結，綜合前文所論，指出後毛澤東時期中國大陸小說如何以烏托邦書寫來反思歷史，同時在烏托邦追求與反烏托邦立場之間擺盪。最後，本文藉香港作家陳冠中《盛世》為例，說明關心中國社會何去何從的作家早已不限於中國大陸作家。由此可見，關於中國的烏托邦書寫將會是一個持續進行的文學議題。In 1976, Mao Zedong died and the ‘Gang of Four’ went down. These events brought down the curtain on the Cultural Revolution, which had spanned 10 years from 1966 to 1976, as declared officially by the Communist Party of China in 1977, and inaugurated the Post-Mao era of the People’s Republic of China. Politically, the Central Committee of the Communist Party of China started to focus its agenda on economic development, forgoing its former ruling policies upholding class struggle and mass movement. Since Chinese literature has always borne close ties with national politics, the end of the Cultural Revolution also implied the phasing out of government’s iron-handed intervention in literary writings. The rise of “Literature of the New Era (Xinshiqi wenxue) in the ensuing years has been another important turning point for twentieth-century Chinese literature since the May Fourth Movement.It is hard to summarize in a brief gist the highly prolific and diversified themes of Chinese literature in the Post-Mao era, but a common topic for contemporary fiction has been reflections on the history of the People’s Republic. According to Marxist historical materialism and Mao’s interpretations, after the successful Communsit revolution, China would discard her previous identity as a nation that was “first of all, poor, and secondly, blank and gradually establish herself as a Communist Utopia in which the principle of “from each according to his ability, to each according to his needs would be applied. Unfortunately, the countless utopian movements initiated with a view to realizing communism as early as possible brought nothing but havoc and catastrophes. The huge chasm between how history “should take place and “had taken place annihilated innumerable souls who had chanted for revolution and left permanent scars to the survivors. Literary critics have often overlooked one perspective when analyzing this stream of fictions that reflect upon history. These works adopt a literary form of “utopian writing and construct different utopias (or dystopias in a lot of cases) so as to provide a historical review of the idealistic societies pursued in China since late-Qing and to conduct a deep evaluation of and reflection on the nature of utopian movements. They may even postulate possible alternative ways out for the historical development of China. These works stand out on the fiction landscape of the Post-Mao era. This thesis aims to conduct a thorough and in-depth examination of contemporary Chinese works of fiction featuring utopian writing and highlight their importance for literary critics and historians.The thesis is divided into six chapters. Chapter 1 is the introduction. It outlines the research background of the thesis and explains the meaning of utopia. It also describes the development of the notion of utopia in Chinese and Western cultures and defines what utopian writing refers to in the study. The chapter then provides a literature review and describes the objectives, values, scope and methodology of the current research. Chapters 2 to 5 are the core discussion of the thesis, in which relevant literary works and literary/cultural theories are used for exploration and examination of the characteristics of utorian writing as displayed in Post-Mao Chinese fictions. Chapter 2 focuses on the dystopian writing in Mo Ying-feng’s Peach Blossom Spring (Taoyuan Meng). It analyzes the tragedy of how the pursuit of utopia ends up with the creation of a dystopia in the fiction, examining how the fiction criticizes the Confucian “Great Commonwealth and the utopian movements in the Cultural Revolution at the same time, and how the work responds to the themes in Chinese fictions of the 1980s. Chapter 3 examines Li Peifu’s Gate for the Sheep (Yang de Men). It explores how Li adopts the form of utopian writing to reflect on the possible ways leading to utopia for rural China along the historical development of the People’s Republic in the 1990s, when literary themes had grown diversified. It also discusses his frustrations about the future of China. Chapter 4 looks into Yan Lianke’s Enjoyment (Shouhuo). This highly notable fiction published in the new century does not only depict the tension between utopia and paradise, but also illustrates Yan’s anti-utopia sentiments and criticizes the deeply-rooted and influential ideology of revolution in the Post-Mao era. Chapter 5 provides a comprehensive review on Gefei’s “Trilogy of Utopia published in the new century. It analyzes its writing strategies and how it portrays the post-utopian situation in the Post-Mao era rife with nihilism and hedonism. The chapter alsodiscusses how Gefei represents individual voices amid the chaos of various utopian movements. Chapter 6 concludes the discussions in the thesis and points out how Post-Mao Chinese fictions adopt utopian writing to reflect on history and how they are torn between the pro- and anti-utopia sentiments. Finally, the thesis uses Hong Kong writer Chen Guanzhong’s The Fat Years (Shengshi) as an example to illustrate the point that concerns over the future of China have never been exclusive for writers from the Chinese Mainland. Therefore, it is believed that utopian writing about China will be an on-going literary issue in the recent future.Detailed summary in vernacular field only.Detailed summary in vernacular field only.Detailed summary in vernacular field only.鄒文律.Thesis (Ph.D.)--Chinese University of Hong Kong, 2012.Includes bibliographical references (leaves 215-226)Abstracts in Chinese and English.Zou Wenlü.Chapter 第一章 --- 緒論 --- p.1Chapter 第一節 --- 研究背景 --- p.1Chapter 第二節 --- 何謂烏托邦？ --- p.3Chapter 一 --- 烏托邦的詞義 --- p.3Chapter 二 --- 烏托邦的三個釋義層面 --- p.4Chapter 三 --- 對烏托邦的反撥──惡托邦與反烏托邦 --- p.10Chapter 第三節 --- 中西方烏托邦觀念的演變歷程概述 --- p.12Chapter 一 --- 西方烏托邦觀念演變歷程 --- p.12Chapter 二 --- 烏托邦觀念進入中國以後 --- p.16Chapter 第四節 --- 烏托邦書寫的意涵 --- p.19Chapter 第五節 --- 文獻回顧 --- p.21Chapter 第六節 --- 研究目的和意義 --- p.24Chapter 第七節 --- 研究範圍和方法 --- p.27Chapter 第二章 --- 對儒家「大同」社會烏托邦與「文革」烏托邦運動的雙重批判--莫應豐《桃源夢》 --- p.31Chapter 第一節 --- 《桃源夢》與一九八零年代中國文學的「傳統文化批判」 --- p.31Chapter 第二節 --- 「天外天」的烏托邦理想：「大同」社會 --- p.37Chapter 第三節 --- 龍居正的烏托邦領袖形象 --- p.41Chapter 第四節 --- 《桃源夢》的惡托邦書寫策略：「善道」的不可行和不可取 --- p.45Chapter 一 --- 創建和維持烏托邦的力量--「善道」 --- p.46Chapter 二 --- 《桃源夢》的反烏托邦底蘊--「善道」的不可行與不可取 --- p.47Chapter 三 --- 對「善道」與「文革」烏托邦運動的雙重批判 --- p.53Chapter 第五節 --- 《桃源夢》對中國文化「深層結構」的批判 --- p.55Chapter 一 --- 儒家對「人」的設計及其內在缺陷 --- p.55Chapter 二 --- 對儒家聖君治國理想的質疑 --- p.62Chapter 第六節 --- 小結 --- p.66Chapter 第三章 --- 毛式烏托邦主義的顯影--李佩甫《羊的門》 --- p.69Chapter 第一節 --- 《羊的門》與一九九零年代中國文學的「無名」時代 --- p.69Chapter 第二節 --- 豫中平原上盛開的紅花--「呼家堡」的形象分析 --- p.72Chapter 一 --- 「呼家堡」與烏托邦 --- p.72Chapter 二 --- 「呼家堡」與毛式烏托邦主義 --- p.75Chapter 三 --- 「新集體主義」與「呼家堡」 --- p.83Chapter 第三節 --- 「我就是羊的門」--「呼家堡」的領袖與民眾 --- p.84Chapter 一 --- 呼天成的領袖形象 --- p.87Chapter 二 --- 「羊的門」與羊--「救世主」與「被拯救者」 --- p.97Chapter 第四節 --- 《羊的門》的烏托邦書寫之價值--以另一種歷史出路來批判社會 --- p.100Chapter 第五節 --- 小結 --- p.103Chapter 第四章 --- 烏托邦與樂園的角力--閻連科《受活》 --- p.106Chapter 第一節 --- 徘徊於樂園與烏托邦之間的「受活莊」 --- p.109Chapter 一 --- 「受活莊」的樂園圖景：「至德之世」 --- p.109Chapter 二 --- 追逐「共產主義烏托邦」：從「集體富強」到「各取所需」 --- p.113Chapter 第二節 --- 兩個時代的烏托邦領袖 --- p.118Chapter 一 --- 卡理斯瑪領袖與卡理斯瑪支配 --- p.118Chapter 二 --- 從「入社」到「退社」--茅枝的政治主體認同與拒絶 --- p.120Chapter 三 --- 自戀的瘋子--「革命之子」柳鷹雀 --- p.124Chapter 第三節 --- 《受活》的反烏托邦姿態──從「共產主義烏托邦」後撤到「至德之世」 --- p.131Chapter 一 --- 對毛主義的顛覆 --- p.132Chapter 二 --- 對後毛時期「集體一朝致富」的批判 --- p.135Chapter 三 --- 歸隱到「至德之世」 --- p.141Chapter 第四節 --- 小結 --- p.143Chapter 第五章 --- 中國百年烏托邦之夢--格非「烏托邦三部曲」 --- p.145Chapter 第一節 --- 「花家舍」--從烏托邦到銷金窟 --- p.146Chapter 一 --- 儒家「大同」社會烏托邦--《人面桃花》的「花家舍」 --- p.147Chapter 二 --- 「共產主義烏托邦」--《山河入夢》的「花家舍人民公社」 --- p.150Chapter 三 --- 銷金窟--《春盡江南》的「花家舍」 --- p.154Chapter 第二節 --- 「烏托邦三部曲」的反烏托邦書寫策略 --- p.158Chapter 一 --- 《人面桃花》對於「烏托邦預設」的質疑 --- p.159Chapter 二 --- 《山河入夢》對於烏托邦的極權主義社會本質之批判 --- p.169Chapter 第三節 --- 「後烏托邦狀況」--從烏托邦主義到虛無主義、享樂主義 --- p.182Chapter 第四節 --- 烏托邦追求下的個體聲音 --- p.189Chapter 第五節 --- 小結 --- p.203Chapter 第六章 --- 結論 --- p.205Chapter 第一節 --- 小說呈現的烏托邦理想價值及其反烏托邦立場 --- p.206Chapter 第二節 --- 毛式烏托邦主義的遺產--後毛時期個別地區的烏托邦實踐 --- p.207Chapter 第三節 --- 烏托邦領袖 --- p.208Chapter 第四節 --- 烏托邦籠罩下的「個體」聲音 --- p.210Chapter 餘論 --- 後毛時期香港作家的烏托邦書寫--陳冠中《盛世》 --- p.210徵引文獻 --- p.21