1980年代的中國文壇出現了一批文學家，在創作手法與內容選材上都有新的突破。有鑒於過去的研究大多針對敘事形式、主題內容做個別討論，本篇論文選定莫言的《紅高粱家族》、《酒國》、《生死疲勞》三本小說，透過實驗性頗高的先鋒派作品中，嘗試連結文學形式與內容。就敘述形式而言，敘事學近年來開始轉向「形式的內容」，嘗試跳脫過去「形式」作為討論「內容」的附屬工具。回應中國文壇對於形式與內容的爭辯，並借鏡敘事學的轉向，本篇論文預期藉由保羅・呂格爾(Paul Ricoeur)的「三重擬像論(threefold mimesis)」來討論這三本小說在自我、敘述與時間的交互作用。

本文分成三章。第一章旨在勾勒出莫言所處的時代背景，並簡介其在近代中文學界的定位。第二章首先就呂格爾如何用「三重擬像論」來連結時間與敘事，接著討論詩學如何透過轉向倫理學，並在「敘事時間」投射出關懷(care)與責任。第三章會就自我、敘述與時間在小說裡的交互作用，嘗試回答以下問題：時間與敘述如何透過日曆時間、世代演替與檔案來產生連結？如何讓毛治時期結束後受傷、破碎的自我產生責任？三部小說的敘事時間是否具開放性，進而像評論家所言，超越線性與進步的論述？這些作品是否挑戰進步論述，還是被進步論述所侷限住？這樣的敘事時間是否加強我們的道德觀感，或反倒是弱化了我們的道德觀感？

In the post-1980s, there emerges a group of Chinese writers who are innovative in narrative forms and themes. While much has been reviewed respectively on these two issues in contemporary Chinese literature, this thesis aims to mediate form and content in Chinese avant-garde literature, with a focus on the following three novels by Mo Yan: Red Sorghum (1988), The Republic of Wine (1992), Life and Death Are Wearing Me Out (2008). Regarding the discussion on the narrative forms, narratology gears toward to a new direction as the “content of form,” rather than being stuck in an old-fashioned conception of “form” as vehicle subordinated to thematical “content.” In response to the debate on form and content among Chinese critics, in this new direction of narratology, this thesis aims to take on Paul Ricoeur’s “threefold mimesis,” with a focus on the interplay among self, narrative, and time in these three novels.

In chapter one, I will first contextualize Mo Yan by introducing two literary trends at debate, and later provide the synopsis of each novel. In chapter two, I will elaborate on how Ricoeur mediates time and narrative with “threefold mimesis,” and later on how poetics links to ethics in a way that a sense of care and responsibility are displayed in “narrated time.” In chapter three, by focusing on the interplay among self, narrative, and time, my textual analysis will be based on the following questions: How are time and narrative mediated by calendar time, successions of generations, and document? How will we establish a responsible selfhood that was considered wounded or shattered in the post-Mao discussion? Do these works display an open sense of temporality, as reviewed, which transcends the so-called discourse of linearity and progression? Are they skeptically challenging the idea of progression, or instead, confined to it? Does this temporality ultimately strengthen or weaken our perception on morality?

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