在漫長的蘇聯歷史中，史達林1932至1953年間的執政歲月，藉由建築藝術的刻畫而深深地烙下不能抹滅的記號。1917年十月革命成功至1953年史達林逝世止，為蘇聯歷史中一段特別又耐人尋味的時期。二０年代的建築師以飽滿堅毅的精神信念，塑造出人類史上第一個社會主義國家的建築形象，他們企圖以建築作為書寫歷史的工具。革命成功後，建築營建配合社會大眾的需求，建築的功能更為平民化。同時建築也成為新政府政策的輔助工具，大量新型的公社大樓與城市建設工程反映出二０年代開始的經濟集體化政策。無論是構成主義或是古典主義，建築師以多樣新穎的設計展現革命後初期政治經濟社會短暫的自由氣氛。隨著史達林的掌權，蘇聯官方逐漸統一文藝創作方向，導致二０年代自由創作風氣消失匿跡。1931年蘇維埃宮設計競賽確立三０至五０年代初期整個蘇聯建築藝術發展的方向，古典主義與折衷主義取代先前前衛自由的創作風格，建築設計的一致性突顯出史達林時期的專權政治。當時史達林透過建築空間的營建規劃，擴大人民對社會主義思想的接觸，無論是地鐵站的內部設計裝潢或是建築上的外觀雕刻設計，甚至是建築的命名來源等，藉由這些藝術張力的散佈，建築設計成為史達林傳達思想理念的平台。以蘇聯建築為認識與探索蘇聯歷史變化的媒介，藉著分析史達林時期的圖騰表象來剖視歷史事件的政經背景與時代氛圍，經由建築本身之「永恆性」與「可見性」特質，還原建築「渲染」及「保存」俄羅斯革命後蘇聯社會的精彩面貌與年代風華。

盧那察爾斯基(Anatoly Lunacharsky, 1875-1933)於1917-1929年間擔任蘇聯教育人民委員部(Narkompros)首任委員，在任期間發表了大量關於藝術的文章及報告，其在蘇聯藝術發展史中扮演極為重要的角色，然而他以藝術達到社會主義理想的主張與正統馬克思主義的經濟決定論十分不同，他相信群眾意識才是推動革命的必要條件。而他從在俄國十月革命之前就抱持這種想法，因此曾一度主張將宗教與社會主義結合，使革命意識成為一種宗教情感而深植人心，而這種想法受到被極度反對宗教的列寧的嚴厲批評，隨後這種想法才轉向以藝術來實現。 在盧那察爾斯基思想中可見到實證主義(Positivism)、費爾巴哈(Ludwig Feuerbach)宗教哲學、尼采(Friedrich Nietzsche)哲學與華格納(Richard Wagner)的色彩，這使盧那察爾斯基的藝術理論在眾多馬克思主義美學家中顯得獨樹一格，本論文主要透過盧那察爾斯基的著作，並加上中西學者對於盧那察爾斯基的研究，不以馬克思主義為中心來理解盧那察爾斯基的藝術思想，探討盧那察爾斯基對於藝術與革命的認知與實踐。 / Anatoly Lunacharsky(1875-1933) was the first Commissar of The People's Commissariat for Education(Narkompros) from 1917-1929. During his tenure, he published many articles and reports about the arts and played a very important role in the history of artistic development in the Soviet Union. However, his proposal to achieve the ideal of Socialism through the arts was very different from the orthodox economic determinism of Marxism. He believed that mass consciousness was a must to promote the revolution. He already held this idea long before the October Revolution in Russia. Thus, he once advocated combining religion and Socialism, making revolutionary consciousness into a religion deeply rooted in everyone’s mind. Nevertheless, this idea was severely criticized by Lenin, who was very opposed to religion. Afterward, Lunacharsky’s thoughts changed, turning instead to realize ideals through art. The influences of Positivism, Feuerbach’s philosophy of religion, Nietzsche’s philosophy and Wagner’s concept of art can be seen in Lunacharsky’s thought, making his views on art unique among Marxist aestheticians. In this paper, instead of understanding Lunacharsky’s theory of art in the context of Marxism, discussion will focus on Lunacharsky’s works and Chinese/Western scholars’ studies on Lunacharsky in order to learn more about Lunacharsky’s thoughts and practice of art and revolution.

本論文研究內容為分析十九世紀俄國批判寫實主義作家薩爾蒂科夫─謝德林的作品《波謝洪尼耶遺風》中的地主與農奴生活圖像。論文分為三大部份：第一部分探討謝德林的生平與創作歷程，並對其作品《波謝洪尼耶遺風》的創作背景、動機、過程與風格等方面進行深入探究。謝德林借用民間諺語中嘲諷波謝洪尼耶人盲目無知的意涵，來批判生活在農奴制下的俄國地主與農奴的愚昧粗蠻生活；作家筆下的「波謝洪尼耶」實為當代俄羅斯農奴制式生活景況的縮影。論文的第二部份分析《波謝洪尼耶遺風》中的地主階級生活圖像，從形象、物質生活與精神生活等方面來探索十九世紀俄國地主生活。謝德林所描繪的地主階級以人數佔最多數的中等地主與小地主為主，呈現出當代多數地主生活不甚體面的此一事實。地主雖身為貴族，但其言行與內在卻未必高尚，謝德林對地主階級普遍的愚昧與粗俗進行揭露，並給予深刻的批判。論文第三部份分析《波謝洪尼耶遺風》中的農奴階級生活圖像，從形象、勞動生活與精神生活等方面來探索農奴階級(農民與家奴)的生活。農奴與地主的生活緊密相繫，謝德林對農奴生活的描繪，一方面呈現出下層農民與家奴的勞苦境況，另一方面批判地主奴役農奴之野蠻；從中可感知作家對農奴階級的同情，其立場始終都站在農奴這一方。《波謝洪尼耶遺風》寫於十九世紀下半葉，基於農奴解放後的俄國社會中仍然存在著農奴制的遺毒，謝德林藉此書重現上半葉的生活，作為對當代後生晚輩的告誡，而此告誡，不只適用於十九世紀末，乃至二十一世紀的今日，仍具有深刻的警世寓意。

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.

香港作家董啟章的長篇小說《自然史三部曲》是一項規模龐大的寫作計畫。此計畫採取「自然史」的形式，旨在跨越文明史觀轉向一切事物的源頭追索。進而，這一系列創作主要是透過多聲部的對位和應答去營造，小說的時間與速度、情感與思考皆呈現出繁複而動態的效果。就內容言，自然史意在廣納物質與語言的創造、時空與情感的迸生、身體與性愛的顯露，以及人類作為物種的誕生與成長（Bildung）等包羅萬有的主題。藉此，自然史試圖重新思索一個人與自我、他人以至世界的複雜關係，並且在不返回基礎形上學的前提下再度探問人類的存有與行動之條件。 　　在方法上，本研究首先沿著董啟章的小說創作軌跡去勾勒自然史的孕生過程和主題結構，接著引發巴赫金（Mikhail Bakhtin）與董啟章在小說理論上的差異對話，從而針對三部曲的敘事形式和內容進行文本詮釋。我們重點強調巴赫金的時空體（chronotope）範疇與對話性（dialogicality）思想，以及他對歌德與杜斯妥也夫斯基的詮釋將會是董啟章與巴赫金之間的潛在理論戰場。此外，本論文亦將反身地探問董啟章的小說本體論，並提出「自然寫實主義」的概念來描述其小說風格。具體而言，自然寫實主義將從兩個面向鋪陳論證，亦即三部曲中的自然即是歷史性以及寫實主義超越客觀性的非傳統意涵。 　　首部曲《天工開物‧栩栩如真》展開作者與主角的美學倫理問題，繼而在自我意識的分裂對話中遭遇可能的想像他者。這部曲的原創之處在於重新納入自然的假設，凸顯自然與人為彼此延伸或開放的關鍵在於想像的再造，位處人之盡頭的嶄新思考（時間）和語言（生命）。第二部《時間繁史‧啞瓷之光》積極破除作者自我的迷障，回應生活中的具體他人。這部曲除了以時空體的迸生理解對話性的成長，更特別透過諸般藝術形象作為純粹符號，一方面證明自我與他人的對話總有超越語言溝通的可能，另方面暗指自然正是要透過準自然的文物揭櫫，在眾多主體性抵消的零和之處浮現。第三部《物種源始‧貝貝重生之學習年代》的人物返回觀點外在化、立場公共化的新古典精神。這部曲凸顯了作者自我的退隱同時也是多重作者再次進場的契機。發展至此，大寫作者的回歸已不再意涵辯證綜合的某個絕對精神，而比較是某種實證集合的自然人存有體。於是，人類透過書寫的行動與身體的經驗重新獲得了學習和成長的潛能。 　　最後，本研究將論證，董啟章的自然寫實主義創新地結合歌德的自然科學觀和杜斯妥也夫斯基穿透主體的寫實主義，意即在巴赫金的小說理論基礎上進行了雙重跨越。與此同時，董啟章的自然史三部曲激進地超越了片面的政治、經濟和社會史觀。他針對小說文類的創造性實驗冒險地催生出一種後歷史的人類科學，也許甚至是一部未來性的人類史詩。 / Hong Kong novelist Dung Kai-Cheung’s Natural History Trilogy is a writing project on the grand-scale. This project is presented in the form of “natural history”, a form of traversing the entire history of civilization to inquire into the source of all things. The series of fictional works mainly utilize a multi-vocal device of counterpoints or mutual responses to create an effect of moving labyrinths in the novel with regards to its narrative time and speed, affect and idea. In terms of content, natural history intends to accommodate a wide variety of themes such as the creation of materiality and language, the emergence of time-spaces and affects, the manifestation of the human body and sexuality, as well as the birth and growth (Bildung) of the human species. As such, natural history seeks to reconsider the complex relationships a single human being may enter with him/herself, with others, and with the world. As a result, natural history reexplores the conditions of being in the world and human action without lapsing into fundamental metaphysics. On the methodological level, this thesis first of all outlines the preparatory phases and thematic structures of natural history along the trajectory of Dung Kai-Cheung’s early writings, and thereafter initiates an alternative dialogue about the theory of the novel between Mikhail Bakhtin and Dung Kai-Cheung with and aim to conduct textual interpretations of the trilogy’s narrative forms and plot contents. We will foreground Bakhtin’s conception of chronotope and dialogicality as well as his interpretation of Goethe and Dostoevsky as the potential theoretical battlegrounds between Bakhtin and Dung. Additionally, this thesis will reflexively search after Dung Kai-Cheung’s ontology of the novel, thereby putting forward a notion called “natural realism” to describe the style of his trilogy. Specifically speaking, we will elaborate on the idea of natural realism in two respects, namely the unconventional implications of nature as historicity and realism as supra-objectivity. The first episode Works and Creations poses a question of aesthetic ethics regarding the author-hero relationship in which the possibility of encounters with fantastic others can be created through an internal dialogue of divided self-consciousnesses. The originality of this episode resides in staging a hypothetical return of nature for the sake of showcasing that the mutual openness and extension between natural and artificial facts depend on remaking of imagination, and resides in a new horizon of thought and language at the end of man. The second episode Histories of Time further engages in lifting the barrier of the authorial self, after which a living response to actual others may be recovered. This episode not only understands dialogical Bildung through the prism of chronotopic emergence but also envisages a variety of artistic figures as pure signs. This literary device is designed to demonstrate that dialogues between the self and others could always surpass the linguistic form of communication, and also intimate that nature is manifested through these cultural relics of quasi-nature and reemerged in the extermination of multiple subjectivities at the end of a zero-sum game. The third episode The Age of Learning brings the characters back to the neo-classical spirit in which each viewpoint gains a notable voice and all standpoints are rendered public. This episode lays emphasis on the retreat of the authorial self as a simultaneous chance for the return of multiple authorship. As of now, the return of the Author no longer implies the dialectical synthesis of some absolute spirit, but rather a certain positive assembly of natural human beings. Henceforth, the human species regains the potentialities of learning and growth through the action of writing and bodily experience. Eventually speaking, the thesis will argue that Dung Kai-Cheung’s natural realism is the fruitful result of an innovative integration of Goethe’s idea of natural science and Dostoevsky’s subject-penetrating realism, a result based upon striding across Bakhtin’s interpretations of both literary giants. In the meantime, Dung Kai-Cheung’s trilogy of natural history opens up a frontier radically transcend any one-sided view of history in favor of politics, economics and/or society. His creative experiment with the novel genre ventures to deliver a post-historical human science, perhaps even a future-oriented human epic.

本篇論文旨在探究列寧與史達林統治期間，蘇聯電影之濫觴與發展。文中首先詳論蘇聯電影形成之時代背景與特殊使命，說明電影傳入俄國之初，正值布黨握權未久，民心浮動之際，列寧與史達林如何善用電影高可塑性及易於大量複製之特色，進行政策宣導與掃盲教育，不僅積極為共黨樹立領導威信，更塑造政權繼承之合法性。 1917年十月革命之後，蘇聯共黨首重電影工業之管理，從1919年列寧將電影工業收歸國有起，至1953年史達林去世為止，蘇聯電影機構與管理階層不斷改組，權力集中。與其他各國娛樂商業影片相較，蘇聯電影濃厚之政治色彩與實用功能，風格自異。 蘇聯電影在歷經戰時共產主義、新經濟政策、社會主義寫實主義、二次世界大戰等不同階段的政策洗禮後，除呈現一系列歌功頌德的樣板影片外，亦在重重監檢制度與狹窄創作空間下迸發令人驚嘆的藝術成就，如庫列雪夫、愛森斯坦、普多夫金、杜甫仁科等大師的電影蒙太奇理論，又如他們結合政治現實與藝術理想之社會寫實創作。蘇聯電影不僅成功整合政治宣傳，鼓舞民心士氣，更於拍攝技巧和視覺美學上，創造出彌足珍貴的藝術語言，為本論文提供豐富且堅實之藝術佐證。 / This dissertation mainly discussed the development of Soviet Cinema under Soviet Socialist ideology during Lenin & Stalin period from 1917 to 1953. First came into its historical background and special mission: cinema came into Russia in early 20th century while Revolutionaries just grabbed power, Lenin and Stalin wisely used the characteristics of high plasticity and massive reproduction in films to propagandize their political policy and to educate the overwhelmingly illiterate peasant masses. Not only did Soviet Cinema build reputation for Soviet Communists, it also helped to legalize the regime of Bolsheviks. After the 1917 Revolution, Bolsheviks first pay their attention to the management of film industry. From 1919 Lenin took over the whole Soviet film industry and made it nationalized to 1953 Stalin passed away, Soviet film department had been gone through process of constant reshuffles and power centralization. To compare with the entertaining and commercial film industry in other countries, Soviet Cinema is unique for its strong political color as well as its pronounced pragmatic function. After baptizing itself through the policy changes during the different political Stages in Wartime Communism, New Economic Policy, Socialist Realism, plus Second World War, in addition to a series of complimentary stereotype films, Soviet Cinema, under layer upon layer censorship and cramped creative room, still spurted its astonishing artistic achievements to the world: the Montage film theory developed by Kuleshev, Eisenstien, Pudovkin and Dovzhenko, the masterpieces of social and realistic creation which demonstrate sophisticate combination of political reality and artistic idealism. Soviet cinema played a successful role in integrating the political propaganda with encouraging the massed; furthermore, it also create the precious artistic languages in the shooting skills and visual aesthetics, all these apply the rich and profound artistic evidences for this dissertation.

摘 要 根據鍾理和寫給文友廖清秀的信函中，指出他約在一九三○年左右，接觸了大量的中國新文學作家的作品，引起他強烈的閱讀興趣，甚至到了廢寢忘食的地步，而其中影響最大且最深的要算是魯迅，因為不論在他的日記或與文友的通信中，最常提及的中國作家就是魯迅。 魯迅是中國新文學運動中最重要的作家，他在文學上的成就，不僅在中國，甚至對鄰近的日本、韓國、新加坡等都產生了深遠的影響，他不僅是中國文學上的巨人，也是躋身世界文學之林的大文豪，日據時期的台灣文壇就是站在世界文學的角度上，開始閱讀並接受魯迅，鍾理和也就是在這樣的文學背景下接觸魯迅。因此，我們在看待魯迅對鍾理和的影響之時，並不把他當作是個獨特現象，而是把他放置在「台灣魯迅學」的範疇中，視為魯迅在台灣傳播的眾多面向之一。所以，本論文首先簡單探討魯迅文學在台灣的傳播情形，再透過對兩人文本的細讀與比較，尋繹魯迅對鍾理和文學的影響。 要進行不同作家文學的傳承或影響的研究，並不能只強調兩者的接觸關係，還必須在諸如主題、表現方式、文字技巧、創作風格等等的層面上進行考察，才能得到較為完整、正確的結果。因此，我們嘗試在鍾理和的作品中，尋找若干對魯迅文學的繼承或轉化的情形，尤其在顯而易見的國民性批判議題與寫實精神的發揚上，除了探討文字上所具體呈現的影響外，也注意在精神或思想上的可能關連。透過這些全面而深入的討論，我們看到鍾理和之所以接受魯迅文學，無疑地主要是著眼在「現代性」這部分上。同樣源自對傳統封建思想的不滿，企求對所處社會進行改革，在國民性的議題上，在對鄉土的寫實與批判上，無一不是站在「現代性」的立場，吸收、學習魯迅相關的文學與思想，但鍾理和的文學並不完全等於魯迅，他一直有著自我獨特的風格，始終立足於台灣的觀點，恰如其份地展現他的主體性。 此外，我們也明確的看到鍾理和是在文學上認識、接受並詮釋魯迅的，有別於被中共神化或國民黨貶抑的扭曲形象，在這裡我們重新看到魯迅作為文學家的真實形象。而鍾理和借鑑魯迅文學的事實，也說明魯迅或中國文學確曾對台灣文學的發展產生作用，並客觀證成台灣文學開放性的特色。 / Abstract Zhong Li-he pointed out in his correspondence with his literary friend Liao Qing-xiu that sometime around 1930 he began to be in touch with a lot of literary works written by Chinese new-vernacular literary writers, which aroused his intense reading interest to the extent that he couldn’t eat and sleep without finishing reading them. Lu Xun was the Chinese writer who had the greatest influence on Zhong Li-he because his name was most often mentioned in either his diaries or his correspondence with his literary friends. Lu Xun, whose achievement in literature exerted profound influence not only in China but also on neighboring countries such as Japan, South Korea, and Singapore, was the most important writer in the Chinese new-vernacular literature movement. Not only was he a literary giant in Chinese literature, but he was also an eminent writer in world literature. In fact, the literary arena of Taiwan under Japanese colonial rule started to read and accept the works of Lu Xun from the perspective of World literature, and it was against this literary background that Zhong Li-he began his contact with the literary works of Lu Xun. Therefore, we do not treat Lu Xun’s influence on Zhong Li-he as a unique phenomenon; in contrast, we place it in the field of “Lu Xun Studies in Taiwan,” and regard it as one of the many facets of how the literary works of Lu Xun were disseminated in Taiwan. Therefore, this dissertation first discusses how Lu Xun literature was disseminated in Taiwan. It then inquires into the influence Lu Xun exerted on Zhong Li-he literature by comparing their literary texts. When carrying out a research into the inheritance or influence of the literary works of different writers, we cannot emphasize simply on the way they contact with one another; on the contrary, we must also examine other facets such as the literary subjects, the ways they are expressed, the writing skills, the creative writing styles etc. so as to arrive at a more complete and correct conclusion. Therefore, we attempt to find out how Lu Xun literature was inherited or transformed through the reading of Zhong Li-he’s literary works. For instance, when dealing with the issues of national characteristic criticism and the promotion of realistic writing, we not only discuss the influence they embodied in written language, but also take notice of the possible correlation between them in terms of spirits or thoughts. By means of comprehensive and thorough discussion, we find out that Zhong Li-he’s acceptance of Lu Xun literature was undoubtedly because of his focus on the aspect of “modernity”. Similarly, on the issue of national characteristic and on the realism and criticism of “hometown”, Zhong Li-he’s position was anchored in “modernity”, expressing his discontentment with traditional feudalistic thinking and his great eagerness for social reforms. Even though Zhong Li-he learned and soaked up Lu Xun-related literature and thoughts, Zhong Li-he literature is not equivalent to Lu Xun literature because Zhong always had his own unique style. He grounded his position from the perspective of Taiwan, which reflected his subjectivity. Finally, we clearly find out that Zhong Li-he came to know, accept and interpret Lu Xun literarily, which is different from the distorted image conjured up by the Chinese Communist Party’s deification or Kuomintang’s disparagement of him. It is in this context that we see the real image of Lu Xun as a literary man. On the other hand, the fact that Zhong Li-he drew lessons from Lu Xun literature explained that Lu Xun or the Chinese literature did exercise influence on the development of the literature of Taiwan, which objectively testified to the fact that openness was a characteristic of the literature of Taiwan.

在擴大對「蘇聯文化」研究的基礎上，本論文探討蘇聯的文化政治與政策施作，其終極目標乃透過命名的權力來建構文化的社會主體性，也即「蘇維埃人」這樣的歷史共同體。為求例證之多樣性，本論文綜合了文化研究與歷史研究途徑，以文本分析和文獻分析作為研究方法，並將指涉的文化政策範圍縮限於文學與藝術領域，以及對文化公共財，如圖書館、博物館、劇院的擴充。 對布爾什維克而言，爭取文化霸權就是建構並傳播蘇維埃意識形態，透過意識形態國家機器，即藝文團體、報刊媒體等來體現，繼而將個人建構為主體，製造出一批批本應如此的「形象」。因此，蘇維埃意識形態始終驅動著蘇聯文化政策的開展。配合主政之領導人，國家對政策的指導可簡化為「文化革命─社會主義寫實主義─公開性」的歷程，並對應由逐漸緊縮到開放的程度。其中，由列寧發起的文化革命可謂蘇聯文化政策的承先啟後階段，尚且容許藝文團體的多元發展。進入史達林時期後，所推出的社會主義寫實主義既是一種創作風格，也是政策的依歸。從寫作到編曲，從繪畫到電影，它為蘇聯的文藝創作設置理論與框架，並成為作品能否公開展演及獲得國家獎勵的唯一標準。至於戈巴契夫的公開性則帶來蘇維埃意識形態更為人性化的修正與文化政策的轉折。 另一方面，本論文透過觀照經蘇維埃化所產生之新蘇維埃人的日常生活片斷，概括蘇維埃文化的若干特徵，點出其指導大眾邁向由官方營造之理想人生的規訓功能，繼而探究蘇聯社會中不同身分的互動，析論政策造成的後續影響。藉由對精英、婦女與青年等文化研究關鍵面向的討論，可以發現蘇聯文化政策的差別待遇模式，以及未將文化納入政策考量的若干失誤。