| Abstract: | 兩岸的女性小說在八０年代呈現出若干相似性，而這裡頭除了主題性傾向之外，主要包括了作品形式；換言之，別於同代的男作家對於後現代、後設小說（台灣）或先鋒尋根小說（中國大陸）的著迷，兩岸的女作家在此時段中基本上都守住了寫實手法，而並沒有像其男性同仁那麼大量的投入實驗性寫作。同時，這一點（兩岸女作家對於寫實手法的偏愛），加上就作品內容而言，與日後的女性文學比較起來，八０年代的女性小說的確表現出較為狹窄的格局，如上兩個因素恐怕逐漸造成此時段的女性文學最近極少成為學者的研究對象。
因此，為了突破既有的研究成果且開闢一些新的研究面向，本論文則除了主題性之外主要從寫實主義觀點切入，將小說形式結構與內容主題相結合進行探析；同時，也注意當時女作家所表現出來的自主性及自覺性，將之視為八○年代兩岸女性文學過去較未受到矚目的重要表現。此外，就「寫實主義」這個觀念而言，本文參考了這一二十年來中、西方學者對於寫實主義的再發現、再詮釋的成果，將寫實主義定義為一種不間斷的「過程」、一個需要不斷加以潤飾修正的文學形式，並且透過這個較為彈性的觀念，選取兩岸代表性的女作家各五位，藉由她們的作品，對兩岸女性文學在八０年代所經歷的從「現實」到「寫實」的過程進行了分析且比較。
首先，如果就台灣女性文學而言，從「現實」到「寫實」描述的是女作家與所處的社會之間的互動，即女作家對於轉型時期女性社會「現實」的高度關懷促使她們在不放棄各自藝術理想之同時有意地選擇「寫實」文學，成為作者與讀者之間主要溝通管道及作家參與、影響社會的工具（甚且社會性愈發強烈的作家／文本，其寫實成分也跟著提高而藝術性相對減少），那麼就對岸的女性文學來講，從「現實」到「寫實」所描寫的則是當時大陸女作家，包括整個新時期文學，從「現實主義」（即社會主義寫實主義）到一般觀念之下的「寫實主義」的轉變過程（把「寫實主義」當作刻意的抉擇要到「新寫實」才出現）──無可諱言，相對於具備了穩固且良好文學個性化與獨特化基礎的台灣（女性）文學，背負了長大幾十年「文學／家為政治服務」的歷史及文化債務之中國新時期（女性）文學，則不得不先經歷一個從「革命／現實主義」到作為創作論而允許作者發揮自己各自的藝術及創作理想的「寫實主義」之演變過程，我們才在論文中被稱為代表了「個人化」寫作路線的王安憶、池莉及方方的小說那裡看到像八○年代台灣女作家類似，大陸的女作家也開始按照自己所設想的創作目的及創作／審美原則（而不是集體化理想衝動所使然）來選取最為恰當的書寫模式及創作技巧。
本論文透過比較視野及文本語境化，分別探討了台、中兩岸女性文學在八○年代所經歷的從「現實」到「寫實」的特定過程，以期勾勒當時女作家的自覺性面向及兩岸女性文學的風貌，並且在彼此對照之下，重新評估八○年代女性寫實小說的價值及其意義。
During the 1980s, women’s literature from both sides of the Taiwan Strait manifested certain number of similarities, that, apart from the subject matter, include also similarities in structure and form. In other words, in opposition to male writers’ enthusiasm for postmodern fiction and metafiction (Taiwan) or avantguarde and root-seeking literature (Mainland China), both Taiwanese and Chinese women writers favoured realist fiction throughout the whole decade. However, it is my belief, that it is precisely their preference for realist modes of writing (widely criticized since the heyday of poststructuralism) together with the allegedly rather limited scope as far as the subject matter of the 1980s women’s novels is concerned, that gradually caused its inevitable “downfall” – while previously hailed as the “Renaissance period of women’s fiction” in both Taiwan and Mainland China, the 1980s women’s literature from these two regions has in recent years become a topic shunned by both scholars and postgraduate students alike.
In order to challenge the existing studies and open up new vistas for future research, this thesis adopts realism as an important point of departure, combining subject matter analysis together with the formal and structural analysis of the texts while also paying close attention to the strong self-consciousness of most of the women authors that should, in view of this author, be reexamined as one of the previously overlooked aspects of the 1980s women’s fiction in both Taiwan and Mainland China. Moreover, following the renewed interest in realist literature within academia during the last ten to twenty years, this thesis adopts a rather “flexible” definition of realism as a continuous “process”, or, in other words, a literary form in a state of flux, that is in a constant need of polishing and amendment. This concept is then applied to a textual analysis of ten representative women authors from both sides of the Taiwan Strait (namely Li Ang, Xiao Sa, Liao Huiying, Su Weizhen, Yuan Qiongqiong; and Shen Rong, Zhang Jie, Wang Anyi, Chi Li, Fang Fang) in a further attempt to describe and evaluate the process from “reality/socialist realism” to “realism” that characterizes Taiwanese and Chinese women’s literature during this particular period. |
