八木義德文學裡的＜民族協和＞──關於＜劉廣福＞及＜胡沙之花＞

Analysis of the“Ethnic Harmony''in the Works of Yagi Yoshinori -Centered on 'Liuguangfu' and 'Flower of Kosa' -

繁體中文八木義德雖然作家歷程許久，也獲得許多文學賞，但作品卻少有人去研究。1944年上半年獲得芥川獎的＜劉廣福＞的時評裡言及，＜這是今日得正確地描寫的作品＞＜活在這個時代的精神＞，由此可清楚知道，這是預先意識到當時時局的唯一解讀法。描寫特定滿洲人的表象作品如牛島春子的＜王屬官＞裡的王床子，＜祝這位男子＞裡的祝廉天，＜張鳳山＞裡的張鳳山。這些作品的異同與方法也放入視野裡，以＜民族協和＞的描寫為始，來探究八木義徳的滿州文學的本質是本論之目的。本論將從普羅文學轉向的作家八木義徳，從＜民族協和＞的側面來探討，以自己的滿洲經驗為基礎所寫的＜劉廣福＞及＜胡沙之花＞。

Although Yagi Yoshinori enjoyed a long writer career and won many prizes, most of his works has been understudied. Even to his masterpiece “Liuguangfu'', which brought him the prestigious Akutagawa Prize for the first half year of 1944, the commentator said that it was “definitely the work which must be written today'' as well as “the work depicts the spirit of the time'' since selection. It is obvious that Yagi Yoshinori, being cautious about the situation at the war time, prepared a compromise reading. Aside from Yagi Yoshinori's “Liuguangfu'', there are works depicting a particular image of Manchurian. For example, Wang Chuangzi in “Wang the Subordinate'', Zhu Liantian in “A Man Called Zhu'' and Zhang Fenshan in “Zhang Fenshan'', all were written by Ushijima Haruko. This paper focuses on Yagi Yoshinori, who recanted his proletarian stance and wrote “Liuguangfu'' and 'Flower of Kosa' based on his experiences in Manchuria. The paper highlights “ethnic harmony'' issues with an aim to explore the essence of the works of Yagi Yoshinori, while the key contents and methods of writing are compared and contrasted.