郭松棻是臺灣現代主義的先鋒人物，同時也在保釣運動中展現大將風采。在1970年代的十年間，郭松棻曾撰寫為數不少的政論與文論，而伴隨這一批材料的，毋寧是郭出入保釣的曲折歷程。在此十年間，郭松棻的意見說法時常出現對同一人物、現象前後看法不相一致的現象：亦即在重複的律動中時有偏離。為求釐清郭氏重複律動的歷史軌跡與心理動因，本文建立一個左翼／臺灣憂鬱的論述框架，一方面脈絡化郭松棻政治／思想的發展，另一方面概念化其人文藝評論的理念：在前者，我們注意的是在全球左翼的語境中定位郭松棻的言說；在後者，郭如何介入臺灣現代派與鄉土派的美學爭執將成為焦點。整體而言，本文期待為郭松棻的「後保釣」擘畫更開闊的地圖與視野，並循線追索臺灣現代派美學的政治縱深。

Kuo Song-fen played one of the most important roles within Taiwan’s Modernist trend; he also is an important representative of the overseas Baodiao movement. For the decade of 1970s, Kuo Song-fen has unveiled numerous essays and articles on the politics, Marxism theory, and literary criticism. It is Kuo’s engaging in and withdrawing from Baodiao movement that accompanies with his dedication to these writings. However, insomuch as Kuo has been oscillating between revolutionary utopia and post-revolutionary dystopia for this decade, it is no wonder that Kuo’s investigations into and interpretations about a same topic or character, the former opinions and the latter ones usually do not coincide with each other. That is what the title of this paper entrenches: repetition and deviation. For inquiring into Kuo’s hiatus, this paper departs from the theoretical framework of “left-wing melancholia” so as to contextualize Kuo’s works on political thoughts (his takes in context of global leftism in particular) on the one hand, and conceptualize the unfolding of his literary criticisms (especially of those on Taiwan Literature) on the other hand. Overall, we expect not only to illuminate the multilayers engendered by Kuo’s vicissitudes of (literary) life, but also to demonstrate “the politics” entailed by the Modernist aesthetics.

郭松棻;後保釣;左翼憂鬱;臺灣憂鬱;現代派;鄉土派

Kuo Song-fen;Post-Baodiao;Left-wing Melancholia;Melancholia of Taiwan;the Modernist;the Nativist