東亞「風雷」如何殘響？臺灣「保釣文學」與日本「全共鬥文學」的比較研究

本發表聚焦描寫東亞1960年代末期至1970年代中期臺灣保釣運動與日本全共鬥運動的文學作品，以劉大任的《遠方有風雷》及桐山襲的《風的年代記》作為主要分析對象。第一部分首先確認兩位作家的創作與東亞冷戰體制之間的相互關係；接著在進行比較分析之前，揉合哈若圖寧對時空間概念的論述及史碧瓦克對比較方法的檢討，基於語言的等價性和時空關係，構築本文中臺日文學比較的基礎。第三部分以劉大任的《遠方有風雷》為例，針對其複層時空敘述與歷史視界進行討論。第四部分則闡明桐山襲如何在《風的年代記》之中進行不同文類之間的轉換，以及抒情性的文學風格。第五部分比較劉大任的客觀書寫方式，檢視二者不同的文學再現與記憶形式。最後論及東亞「1968」對近代性與民族主義的高度關注與思考，是在以往歐美中心的「1968」研究中未見的獨特性質，將是未來東亞「1968」最具有潛力的研究方向。 This article primarily focuses on the literary writings—Liu Daren's Wind and Thunder from Afar and Kiriyama Kasane's Wind's Chronicle–which are related to Taiwan's Baodiao movement and Japan's Zenkyoto movement from the late 1960s to the middle 1970s. Firstly, it clarifies the relationship between authors' creative stances and the cold war structure in East Asia. The second part discusses comparative methodologies by Harry Harootunian and Gayatri Spivak, which provide an appropriate comparative approach based on issues of equivalence and spatial-temporality between languages. The third part analyzes Liu Daren's Wind and Thunder from Afar with a particular focus on its multilayered space-time descriptions and historical horizons. The fourth part turns to Kiriyama Kasane's Wind's Chronicle, demonstrating how Kiriyama alternates between different genres and the lyrical style in his writings. In the fifth part, by comparing with Liu's objective writing style, this article examines the differences in their literary representations and forms of remembrance. Then the discussion will turn to modernity and nationalism in Eastern Asian “1968” to tease out the potential for the studies of Eastern Asian “1968” in the future.