想像的民族風--論江文也文字作品中的臺灣與中國

Chiang Wen Yen’s Views on Taiwan and China as Shown in his Writings

江文也是臺灣出身的作曲家，一九三六年成名於日本，一九三八年赴北京工作，由於時局變化，他的後半生在中國大陸受盡摧殘，在臺灣則聲名淹晦，直至一九八○年代初期才在故鄉「出土」。自油文也「出土」之後，他的文化認同與身分認定，以及因此而衍生出來的「民族認同」（national identity），可說是最吸引人的議題，不少人從「民族主義」的觀點來解釋他－－或強調他的中國認同，或強調他的臺灣認同；也有人把他在一九三八年選擇到中國任教，看成民族主義的抉擇。本文的研究指出，從民族主義的角度來解讀戰前的江文也，是非歷史的，是把江文也從他所屬的時空抽離出來，孤立地去看他的作品和作為。筆者嘗試從時代和個性入手，把江文也放回歷史的脈絡，並以他自己的思維和感情邏輯來予以了解。唯有通過這樣的了解，我們才能還給這個浪漫的音樂家一個真面目。 本文以江文也一九四五年以前的文字作品為核心材料，整理分析江文也有關臺灣和中國的表述及其意涵。第一節介紹江文也一生的梗概，以及截至目前為止的相關研究。第二節討論故鄉臺灣的意象對他的藝術創作所起的關鍵性作用。第三節則試圖從藝術家個人的創作與思維邏輯，理解他的北京之行及其後寓居北京的「選擇」。第四節利用難得的江文也日記和書信，呈示藝術家個人關於一夕成名的感受與省思。第五節主要從他的文字作品中釐出他的中國想像的梗概。最後，關於一九三八年至一九四五年間江文也的某些音樂活動與作為，筆者試圖從歷史的脈絡予以理解，提出一個非民族主義式的解讀。

The composer Chiang Wen Yeh（known as Koh Bunya in Japan）was born in Taiwan, became famous in Japan in 1936, and accepted a teaching position at a university in beijing in 1938. After the end of the Second World War, he ramained in China and went through many ordeals, while at the same time his works were banned in Taiwan. As a result, he became obscure and unknown to young people in his home place. Only in early 1980s did his name surface again in the media of Taiwan. Ever since then his attitudes towards Chinese culture and the issue of his “national identity” have attracted a great deal of attention. Many scholars looked at his life and works from the nationalistic viewpoint, either emphasizing his “Chinese identity” or his “Taiwanese identity.” My research shows that the nationalistic line of explanation ignores the historical context in which Chiang Wen Yeh lived and made his choices. In this article, I aim to locate Chinag Wen Yeh in his own time and also try to understand him in the light of his way of thinking and sentiments as an artist. In this article I use the written works of Chiang Wen Yeh before 1945 as main sources to analyze his views on Taiwan and China. This article comprises five parts. First, I outline his life and review the literature concerning Chiang Wen Yeh. Second, I discuss how the image of Taiwan inspired Chiang Wen Yeh and launched him as a composer. In the third part, I try to interpret the reasons why he chose to live in Beijing in 1938 from the perspectives of artistic needs and personal temperament. Chiang Wen Yeh kept journals for at least 25 years, but the journals are not yet open to the public. In the fourth part, I use the long entry of December 27, 1936 in his diaries and a letter to his wife to demonstrate his feelings as he became famous overnight. Finally, I try to explain some of his activities during the period of 1938-1945 in historical light, and propose a “non-nationalist account” of what he did during those years.