台灣三○年代大眾婚戀小說的啟蒙論述與華語敘事：以徐坤泉、吳漫沙為例

Enlightenment Discourse and Chinese Narration in the Popular Fiction of the 1930s: A Study of Xu Kun-quan and Wu Man-sha

本論文以三○年代台灣日治時期的大眾婚戀小說為探討對象，檢視30年代小說與當時文化、社會、傳媒的情境有何互動關係，並指出當時通俗文學中的啟蒙論述。筆者首先探討「大眾」與「大眾文化」對不同發言者的分殊意義。其次，針對人們較為熟悉的類型化文學「羅曼史」或「言情小說」，筆者分析「婚戀小說」與羅曼史的差異。本文另一個關心主題是以新舊文學論戰及台灣話文論戰為背景，分析漢文大眾小說的文字風格。徐坤泉試圖使用少數台語詞彙，整體看來仍是中文白話文，而吳漫沙則展現更鮮明的話劇式五四白話文。吳漫沙在皇民文學的鮮明立場下，暗藏中國民族主義，其華語敘事與民族認同值得深入探討。

This paper attempts to analyze popular fiction in the 30s during the Japanese colonial rule. I will situate my discussion under the overall social and culture context of mass media and the interaction between literature and cinema. In this period, the enlightenment discourse co-existed with entertainment. Next, I will analyze the different usages and concepts of “the people.” The third issue in this paper deals with literary debates regarding the distinction between old/classical and new/colloquial style (bai-hwa). Popular novels in this period were written in Mandarin Chinese; however, people were used to speak in Taiwanese in daily life. Chinese narration is both a issue of written language and a way to express Chinese national identity under the disguise of komin (imperial) literature.