閻連科作為中國大陸當下最富影響力與爭議性的作家，其作品一直備受關注，從早期的《為人民服務》、《丁莊夢》到後來的《四書》在大陸屢屢被禁，可是這並不影響閻連科在海外的傳播，近期更是成為了繼村上春樹之後第二位獲得「弗蘭茨．卡夫卡」文學獎的亞洲作家。　　閻連科在《四書》中重新講述了「三年大饑荒」、「反右運動」等歷史事件，小說中欲望與恐懼交織混雜，知識份子作為「無用」的罪人，努力通過肉身的規訓將自己改造為「有用」之人。閻連科敏銳地發現魯迅提出的「救救孩子」，知識份子非但無法達成，甚至在歷史浩劫中越陷越深連自己也無法拯救，因此創造了新的「孩子救我」寓言。並以身體敘事反向顛覆、解構革命的崇高性，血淋淋的疼痛感昭示革命的殘酷性。　　本論文著力於探討《四書》中的身體書寫，將以「肉身的馴服」、「饑餓的恥辱」、「血種」、「逃無可逃的命運」為關目，思考閻連科身體書寫背後的意圖。大饑荒期間知識份子群體發生的「人吃人」是否預示了當代中國倫理秩序的坍塌？閻連科如何以身體書寫的方式進入人們內心深處的「黑暗世界」？閻連科重寫的「西西弗斯神話」暗含了對人生命運怎麼樣的思考？這也是本論文欲以探討的面向與意義。

As the most influential and controversial writer in current Chinese mainland, Yan Lianke (閻連科 ) (1958-)recently even has become the second Asian writer who have acquired the literary award of Franz Kadka behind Karuki Murakami The Four Books(《四書》)(2014)of Yan Lianke narrates “the Great Famine in three years” and “Anti-Rightist Movement”, etc., historical events. In the novel, desire is mingled and mixed with fear. As “useless” sinners, intellectuals have transformed themselves into “useful” men through carnal disciplines. Yan Lianke finds out subtly that “saving children” proposed by Lu Xun can’t be reached by intellectuals, and they even can’t save themselves in the deeper historical catastrophes. Therefore, he creates the new fable of “save by children”. This paper exerts on discussing body writing in The Four Books and regards “carnal tame”, “hungry humiliation”, “blood” and “no-escape destiny” as plots to reflect on the Yan Lian’s intention of writing. During the period of the Great Famine, whether the “dog eat dog” occurring in intellectuals predicts the collapse of modern Chinese ethical order? Yan Lianke how to enter into the “black world” of the heart in the way of carnal writing? The rewritten “the Myth of Sisyphus” implied what’s kind of reflection, and this is also the orientation and significance discussed by the paper.