混合的身體──論《福爾摩沙》時期的巫永福

Hybrid Body in WU Yong-fu's Works of <||>Formosa<||> Period

巫永福（1913-2008）是現今十分知名的詩人，其於17歲時赴日留學，以日語為母語於日治時期發表許多日語的作品。巫永福的文學創作雖在戰後一度中斷，然而於1960年代又重新執筆從事文學活動。在其漫長的文學生涯中，第一個發表作品的舞台是文藝雜誌《福爾摩沙》，這本雜誌是由東京的台灣留學生所成立的「台灣藝術研究會」所創辦。《福爾摩沙》於1933年7月發行創刊號，而至翌年6月發行第三期之後停刊，可謂相當短命的一本雜誌，然而其作為探討1930年代初期台灣知識份子意識的媒介，具有極為重要的意義。本論首先思考巫永福第一個發表作品的文藝雜誌《福爾摩沙》所具有的意義，以及巫永福於其中所佔之地位。其次，以其兩篇小說〈首與體〉及〈黑龍〉為中心，思考巫永福的自我認同、民族意識以及身體性等問題。透過詳細的文本解讀，明確地理解巫永福所思考人類所應有的生存方式，以及人體作為一媒體的身體性，並試圖進一步發掘出其相異於同時期的台灣作家、屬於其獨特的問題意識。

WU Yong-fu is a famous poet now in Taiwan. He had studied in Japan from the age of 17, so Japanese was a mother language for him. In period of Japanese occupation, he wrote many works in Japanese. Afterwards, WU Yong-fu's literature activity has continued till now, though it had stopped from 1944 to 1966. The first stage of his long literature life is the literary magazine Formosa which was published by the Taiwanese students in Tokyo. Their circle's name was Taiwan Art Research Club. Formosa No.1 was published in 1933, and came to an end the next year. The magazine was the short lived, but was very important material for researching the identity of Taiwan intellectuals in the 1930s. This paper describes the meaning of his first media Formosa in that period, and the position of WU Yong-fu. After this, I argue his identity, ethnic consciousness and body consciousness. Through close reading, I try to argue about the thought of WU Yong-fu for man's existence, and man's body consciousness, for proving the unique awareness of the issues that were different from those of other Taiwan intellectuals in the period of Japanese occupation.