本文從討論毛派文學——一種明顯的強勢對話開始。透過閱讀〈鯨魚〉，本文證明強勢的毛派文學，其目的在於建立一種英雄個體的模式——儘管是出現於集體社會框架之下的英雄。接著，本文依據羅貴祥的觀點，來審視朦朧詩派的準強勢的觀點。在分別出朦朧詩派對於自然與自我本位兩者之間的關係之後，本文對於羅貴祥的評論提出看法。雖然朦朧派反對毛派以實用主義的態度處理自然主題，但是朦朧派依然與毛派相似地具有一定的主宰性。本文的末段審視顧城最新的詩作、以體認出所有自我本位皆包含在生態學的自然概念之中。最後，本文整理出毛派、朦朧派、顧城等三種不同自我本位的模式、三種對於自然的概念，以及本文對於中國現代文學當中其他呈現自然——自我本位互動作品的觀察。

To begin with, I offer a brief discussion of Maoist literature, a literature which exhibits a very obvious form of sublime discourse. By means of a close reading of the short-story “The whale Trough” I hope to show that this “Maoist sublime” aims to construct a form of heroic individuality, albeit one that inscribes such an individuality within a collective framework. From there I proceed to a general examination of the quasi-sublime aspect of menglong poetry drawing on the work of Kwai-Cheung Lo. After trying to identify the precise relationship between nature and the production of subjectivity in such poetry, I go on to evaluate Lo's critique of this project. Although it is clear that menglong poetry rejects the instrumentalist view of nature typical of Maoist discourse, it shares a similar tendency toward domination. In the remaining sections, I examine Gu Cheng's late poetics for signs of a discourse that is aware of the constructedness of all subkectivity and/or is broadly “ecological” in its conception of nature. In conclusion, I offer a tentative correlation between three broads modes of subjectivity and three conceptions of nature as well as some additional observations about the nature-subjectivity interaction in the context of contemporary Chinese literature.

毛派文學、朦朧派、顧城、生態學、中國現代文學

Maoist, menglong poetry, Gu Cheng, ecolojy, contemporary Chinese literature