創傷與重生 ——從早期作品論郭松棻創作基調的形成

創傷與重生

——從早期作品論郭松棻創作基調的形成

Seeds and Anti-Essentialism:
An Analysis of Kou Song Fen’s Early Works

魏偉莉

Wei, Wei Lee

摘要

在台灣八○年代的政治文學風潮中，作品主題常圍繞在國族認同與政治立場的表達。但是在此風潮中，郭松棻作品所表現出的國族認同卻顯得難以辨識。因此，前行研究在分析郭氏作品時，往往產生非常分歧的看法。然而，本文認為這種難以辨識的特色，正是郭松棻在回應台灣當時的政治變化與認同焦慮的一種策略。而且，這種回應策略從他的早期作品即已出現，並成為他日後作品的基本調性。
此基本調性有二：第一，作者認為人對身分認同的認知是受到社會建構的，因此質疑具有本質化傾向的認同模式。第二，作者認為既然認同是被社會建構的，那麼經歷多重殖民統治的台灣人就在不同政權的文化建構中，產生認同上的矛盾，甚至是離散（diaspora）的經驗。
因此，相較於八○年代的政治文學，郭松棻的作品既不是在宣揚某種真理化的國族認同，也並非在嘲諷認同焦慮，而是試圖為台灣內部的認同僵局思索解決之道。

關鍵詞：政治文學、郭松棻、國族認同


Abstract

The predominate political literature of the 1980’s was characterized by a discussion of national identity and the conflicts associated with the popular political stands of the era. However, Guo Song Fen, as a representative author of the political literature of this time, differs greatly in theory and focus on the issue of national identity. Until now, Guo Song Fen’s works have been analyzed to imply that he ascribed to either one of the schools of national identity. However, this paper argues that it is exactly this characteristic of ambiguity that acts as a strategy to respond to the political changes and confusion concerning national identity at that time.
Guo Song Fen’s defining themes can be understood by his belief that identity is a kind of social construction and thereby is more appropriately understood through anti-essentialism. Specifically, in terms of the Taiwanese experience of identity, Guo Song Fen believed that the repeated experience of being a colonized people ruled by several different regimes, created a conflicted identity of self in which the Taiwanese could not reconcile the contradictory elements of their social history. Furthermore, because of Guo Song Fen’s forced immigration to the United States, his experience of Diaspora further complicated his relationship with identity.
The aforementioned themes can be seen in Guo Song Fen’s earliest works and later became the defining characteristic of Guo’s literature. As the political literature of the 1980’s either chose to ascribe to the belief in a conclusive identity, or chose to take an ironic or satiric perspective on the matter, Guo Song Fen’s literature lies outside of these two opposing perspectives. Instead, his works emphasized the importance of identity and the anti-essentialist nature of the self.

Keywords: political literature, Guo Song Fen, national identity

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帝國的錯位——王昶雄《奔流》中的游移認同

The Dislocation of Empire:
An Identity Paradigm of Colonial Displacement in Wang Chang-hsiung’s A Raging Torrent *
帝國的錯位——王昶雄《奔流》中的游移認同

李育霖,

Lee, Yu-lin

Abstract

Fifty years of Japanese rule over Taiwan provided a context not only for the development of a colonial apparatus but also for the elaboration of patterns of resistance by the colonized. Guided by its assimilation policy, Japan attempted to integrate the island into the Japanese empire through zealous educational and cultural campaigns. The process of cultural assimilation and subordination, however, produced sentiments of displacement on the part of the colonized subjects. This paper examines Wang Ch’ang-hsiung’s novella A Raging Torrent, a representative work of “imperial literature” by native Taiwanese authors, showing how the cultural and subjective ambiguity inherent in such counter-discourse indicates displacement in the elaboration of a colonial identity. The I-narrator of the novella, caught between the colonizer and the colonized, presents an emblem of the paradoxical ambiguities of colonialism. Hunted by a confusion of identity, the narrator reveals a self which negotiates the cultural and subjective codes of the colonial encounter. The constant negotiations between the colonized self and the colonizing other strongly suggest the dislocation of the colonizer’s discourse and produce a text that expresses an identity paradigm of ambiguity and multiplicity of the imperial subjects.

Keywords: identity, displacement, assimilation, Wang Chang-hsiung, komin literature


摘要

日本五十年的台灣殖民統治不僅促成了日本殖民機關的發展，同時在殖民地也形成了特殊的反抗論述。透過語言教育及其他文化政策，日本殖民政府努力將台灣織入帝國版圖，將台灣人民變成帝國的臣民。然而在一連串的同化過程中，在被殖民者身上展現的卻是游移與疏離。本論文鎖定皇民文學代表作之一——殖民地作家王昶雄的《奔流》，探討潛在於反抗論述中文化與主體的模稜兩可如何在殖民認同的謀劃中展現游移的特質與樣態。《奔流》中的敘述者「我」夾在殖民者與被殖民者之間，呈現了殖民主義中特有的弔詭與模稜兩可。小說陳述殖民遭遇中自我與他者之間的協商過程，而此不斷協商過程所展現的，正是帝國殖民論述在殖民地的錯位，以及殖民地臣民本身模稜兩可與多重的認同書寫模式。

關鍵字：認同，游移，同化，王昶雄，皇民文學

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