巴代《笛鸛》與《白鹿之愛》中的歷史重構

Historical Reconstruction in Badai’s Sorceress Diguwan and White Deer

二十一世紀，有關臺灣原住民歷史的書寫已成為跨族群臺灣作家的重要關注。卑南族巴代從原住民角度書寫系列歷史小說並上溯到荷治、清治、日治時期，不僅備受矚目，也意義非凡。本文將探討巴代以家鄉大巴六九部落為背景的歷史小說《笛鸛》與《白鹿之愛》中的歷史重構。本文認為，《笛鸛》與《白鹿之愛》中的歷史重構透過呈現日治及荷治時期的大巴六九部落，改寫不同殖民勢力所強加的文明與野蠻的二元對立，重塑卑南族的歷史記憶與文化價值，並顯現卑南族的族群和性別關係以及抵殖民或反殖民策略，從而取回歷史詮釋權；而同時，兩書中的歷史重構扣緊了原住民主體性運動第三階段之訴求，也展現了跨文化、跨族群、跨世代的文化展演與翻譯。

As revisiting Taiwanese indigenous peoples’ histories has become a cross-ethnic concern in twenty-first century Taiwanese literature, Pinuyumayan writer Badai’s 巴 代 corpus of historical novels set in the Dutch, Qing, and Japanese periods has received great critical acclaim. This article deals with historical reconstruction in two of Badai’s historical novels, Sorceress Diguwan and White Deer, set in his hometown of Damalagaw 大巴六九部落. This article examines how historical reconstruction in the two novels reverses the dichotomy between civilization and barbarity; restores Pinuyumayan historical memories and cultural values; and unveils Pinuyumayan ethnic and gender relations as well as decolonizing or anti-colonial strategies so as to reclaim Pinuyumayan history. At the same time, this paper explores how historical reconstruction in these two novels fits in with the goals of the third stage of the Taiwanese Indigenous Peoples’ Identity Movement and enacts transcultural, crossethnic, and trans-generational cultural performance and translation.