論王小波「時代三部曲」的黑色幽默語言

Black Humor Style of Wang Xiao-bo's "The Trilogy of Times"

許嘉雯(Chia-Wen Hsu)

王小波 ； 時代三部曲 ； 黑色幽默 ； 毛語創傷 ； Wang Xiao-bo ； "The trilogy of times" ； Black humor ； Trauma of "Mao's style"

修平人文社會學報

21期（2013 / 09 / 01）

31 - 57

繁體中文

在八０年代後期的大陸文學裡，小說本身的存在性逐漸增加。許多作者試圖凸顯小說與現實世界的界線，讓書寫敘述成為另一種語言，一種有別於現實的「後語言」。這種盛況到了九０年代的王小波（1952－1997）「時代三部曲」，更是顛覆了傳統的文字規則，語言不僅是表情達意的媒介，同時也是作者書寫的重要對象。然而在他刻意明快的黑色幽默句子中，不難發現作者依舊試圖拆解已被「毛話語」綑綁多年的話語機制，藉由胡說八道將話語系統重新定位。作者不停地使用符號（sign），但但其能指（signifier）指涉的所指（signified）卻在重複迴旋的小說架構中無限擴大、延伸，無從明確定義，卻也無從被束縛，換句話說，「黑色幽默」不僅是王小波特有的書寫風格，更是為了藉此抵抗無所不在的「毛爸爸」，讓失語的危機轉化成另一種話語存在的可能性，修正或瓦解既存的秩序，將八０年代的抵抗意圖依舊傳承下去，而這些符號虛化的文字不斷地累積而成的「黑色幽默」空間，正是王二們，或說曾受毛語創傷的作家們，他們真正思想之所在。

0 age later periods, Many authors attempt to demonstrate the line between the novel and real world, and let writing become to another language which is a kind of ”meta-language” being different to the reality. This grand occasion to 90 age's Wang Xiao-bo (1952-1997) ”the trilogy of times”, the language not only expresses the meaning the medium, simultaneously but becomes to a important writing object for author. In the sprightly black-humor sentence, he attempted to destruct words mechanisms of ”Mao's language” held back many years, and locate a new words system with nonsense talks. The author does not stop using ”sign”, but ”signifier” Refers to fords ”signified” extends and expands infinitely inside the recounting repeated novel construction. It cannot be defined explicitly and restrained. In other words, ”Black-humor” is not only Wang Xiao-bo's unique literature style, it is to take advantage of this resists ”Mao-daddy” omnipresent, let the aphasia the crisis turn another language existence the possibility, the revision or disintegrates the order which already saves, inherit 80 age's resistance intentions. ”Black-humor” space that these sign empty writing accumulates unceasingly becomes, is the true thought is at place that precisely ”Wang Er”s, or said the writers once received attacks the ”History's humor”.