逸出烏托邦之外：論閻連科《受活》的反烏托邦書寫

閻連科於二〇〇四年出版的《受活》享譽中外，被視為二十一世紀中國當代文學無法被繞過的一部長篇小說。評論界對於《受活》呈現的烏托邦形象已有不少討論，但本文打算通過文本細讀，對小說描繪的烏托邦／樂園，以及主要人物：柳鷹雀和茅枝，進行細緻的辨析，以期從以下三方面開展析論：一、《受活》虛構的烏托邦／樂園與「毛式烏托邦主義」／中國傳統道家「至德之世」在思想價值上的淵源。二、《受活》的兩位主要角色：茅枝和柳鷹雀對於烏托邦／樂園的態度，與共和國歷史進程及共產主義意識形態的關係。三、本文嘗試說明《受活》的反烏托邦書寫的意涵，通過讓「受活莊」從「共產主義烏托邦」後撤到「至德之世」，閻連科試圖達成對毛主義的顛覆，以及對後毛澤東時期追求「共產主義烏托邦」的手段（「集體一朝致富」）的批判。最後，本文將會考察作家在烏托邦與樂園之間，展現了怎樣的選擇。
Yan Lianke's novel Lenin's Kisses, published in 2004, is renowned at home and abroad. It is regarded as a novel that cannot be overlooked in the twenty-first-century contemporary Chinese literature. Although there has been much discussion on the utopian image presented in Lenin's Kisses, this essay aims to analyse in detail the depictions of utopia and paradise in the novel, as well as its main characters Liu Yingque and Mao Zhi, through a close reading. The analysis will be conducted from the following three perspectives: 1) the ideological relations between the utopia/paradise pictured in Lenin's Kisses and Maoist utopianism/ "the ideal society" in Chinese Daoism; 2) attitudes of the two protagonists, Mao Zhi and Liu Yingque, towards utopia/paradise, and the relations with the development of People's Republic of China and communist ideology; and 3) this essay also attempts to illustrate the meaning of anti-utopian writing in Lenin's Kisses- by withdrawing the village "Liven" from a communist utopia to "the ideal society", Yan tries to subvert Maoism and criticize the pursuit of "communist utopia" (i.e., "getting-rich-together") in the post-Mao era. Lastly, this essay will examine how the author chooses between utopia and paradise. Copyright © 2017 中國文學學報編輯委員會.