「郭柏川」的三重對話：論郭柏川系列傳記的社會建構與敘事記憶

A Triple Dialogue with the Image of“Kou Po-Chuan”: An Analysis of the Social Construction and Narrative Memory in Kou Po-Chuan’s Serial Biography

郭柏川（1901-1974）為臺灣著名畫家，一生流離於臺灣、日本、北京，貢獻於藝術教育。其主要傳記包括妻子朱婉華撰述《柏川與我》（1980）、同事王家誠所著《郭柏川的生平與藝術》（1998）二作，《柏川與我》後由女兒郭為美補述出版《柏川與我：孺慕與景仰―《柏川與我》再生緣》（2015）。三人描繪的郭柏川各自形成公私領域的畫家、丈夫和父親形象，互為組構郭柏川的文化形象與敘事記憶，折射出傳記文本、經驗記憶與社會認同間的動態關係。傳記囊括個人的敘說以及撰述者如何藉由意義的連結而建構傳主的生命經驗，故傳記研究向被視為一種克服鉅觀（社會學）與微觀（心理學）研究之間鴻溝的方法。前述傳記所再現的「郭柏川」形象，不僅展開畫家、丈夫、父親身分形象的三重建構，也呈現不同世代撰述者與傳主的交涉對話。若以歷史視野觀看，郭柏川的生平軌跡一則烘托臺灣知識分子的北京生活與文化圈之戰時景況，一則顯現終戰後社會狀態與臺人歸返心理，更呈示傳記出版後關於歷史詮釋與文化認同的敘事記憶。

Kuo Po-Chuan (1901-1974) was a famous Taiwanese painter and he spent his whole life in Taiwan, Japan, and Beijing, dedicating himself to art education. The major biographies on Kuo are Po-Chuan and Me (1980) by his wife Chu Wan-Hua, Kuo Po-Chuan’s Life and Art (1998) by scholar Wang Chia-Cheng. Po-Chuan and Me was later expanded into Po-Chuan and Me: Affection and Admiration: the Cross Generation Relationship between Po-Chuan and Me (2015) by Kuo’s daughter Kuo Wei-Mei. Kuo is portrayed by the three as a painter, husband and father in the public and private fields, each complementing Kuo’s cultural image and narrative memory, reflecting the dynamic relationship between biographical text, experiential memory and social identity. Biographies include personal narration and how the narrator uses meaningful connection to construct the life experience of the person being depicted; therefore, the biographical study is considered as the method that bridges the gap between the macro (sociology) and micro (psychology) studies. The images of Kuo represented in the aforementioned biographies demonstrate the threefold image of Kuo (artist, husband and father) and show the dialogue between the writer and the person being depicted. From the historic perspective, Kuo’s life trajectory reflects Taiwan intellectuals’ life in Beijing and the wartime situation in the cultural circle, and shows the social conditions of New China and the mentality of Taiwanese in the post-war Beijing who wanted to return to their homeland. Moreover, it represents the narrative memories about historical interpretation and cultural identity after the serial biographies were published.