夙有「台灣文化長工」之稱的李喬，對於創作形式的開拓，實可與其文學成就、文化改造抱負等量齊觀，在台灣文學作家群中獨樹一格。彭瑞金嘗言：「李喬文學迭經蛻變，卻無可否認的，李喬短篇最為文學。」作為「敘事」藝術的小說，從某種意義上說，也可以稱之為「故事的藝術」。在短篇小說創作中李喬不僅扮演作品意義的生產者──呈現台灣文化歷史的縱深，也同時操演著各種批評理論，而嵌入的故事與敘事模式則有驚悚、變形、象徵、荒誕、政治意識、魔幻寫實、心理分析、意識流等等，變化紛呈，構思奇特，引領讀者進入文學迷宮，鑽探小說閱讀／寫作的現象和本質，明顯具有自我暴現創作伎倆的後設風格。羅蘭．巴爾特（Roland Barthes）曾區分「讀本」（或譯「用以閱讀之文」）（le lisible）傳達的是作者君臨讀者之上的權利，是一種業已建立起來的現實觀和價值體系，僅能讓人閱讀，但無法引人寫作；「寫本」（或譯「能引人寫作之文」）（le scriptible）則在文本符碼（codes）開放而無自動指涉的特性下，邀請讀者介入，思索語言本身的性質，成為作品的生產者，而非消費者。本論文即嘗試挪借並循此基點，將研究進路概分為「第一人稱『我』的話語」、「以抒情式復活的歷史與人物」，以及「人物的變形與扭曲」三項，俾以考掘李喬短篇作品中所謂「超小說」，甚至是「擬批評」的小說藝術成分，並兼及敘事學與一般美學問題。

Formerly there was Li Qiao (Li Ch’iao) who was known as the ‘fixed laborer of Taiwanese culture’. Through his pioneering form of writing, his accomplishments in literature, his aspirations for cultural reform and other such views, he can truly be considered one of the most unique writers among Taiwanese literati. Peng Rui Jin has commented, “Li Qiao’s works alternate amidst transformations, this cannot be denied. Furthermore, Li Qiao’s short stories are essence of literature.” Being novels of “narrative” art, his works following certain definitions could also be explained as “the art of the story”. Among the creations of Taiwanese short stories he not only takes on the role of a producer of meaningful works embodying the depth of Taiwanese history and culture, but at the same time also puts into practice each kind of critical (literary) theory. Inlaid into the narrative mode of his stories are fear, transfigurement, symbolism, absurdity, fantasy, realism, psychoanalysis, and stream of consciousness etc, his multifarious changes and unique constructs lead the reader into a literary maze, exploring the phenomenon and substance of the novels text and writing which contain both explosive self creativity and a dexterous metanarrative style. Roland Barthes has made the distinction of the “reader” (this could also be translated as “an article meant for reading or to be experienced”) (le lisible), which transmits the authority of the author over the reader. This is a pre-established pragmatic view and value system. It can only be read by people, but cannot induce them to write. “Writing” (which can be translated as “an article which can induce people to write”) （ le scriptible） which with the uniqueness of open literary codes and not automatic denotations become the work of the producer and not the consumer. This paper will try to borrow from and follow this basic premise taking this research directly into three items dealing with an overview of the language of the first person “I”, “the resurrection of historical figures through lyrical styles” as well as “the transfiguration and twisting of characters”. This is in order to test and expound short stories among Li Qiao’s works known as “super novels” up until “a simulated critique” –the artistic component of his novels. This will also deal with general narrative and aesthetic issues.

李喬; 短篇小說; 後設風格; 寫本符碼; 臺灣文學

Li Qiao; Short stories; Metanarrative style; Le scriptable; Taiwanese literature