濱田隼雄《南方移民村》論－－以「更正」為中心

A Study of Southern Emigrant Village’ Written by Hamada Hayao－About his ‘Reform’－

濱田隼雄（1909-1973）自1940 年起以小說家的身分展開活動，主要的舞臺是以西川滿為中心的文藝雜誌《文藝台灣》，其後活躍於台灣文壇，成為當時台灣具代表性的作家。濱田的代表作之一便是本文所欲探討的《南方移民村》。這部小說早期多被解讀為迎合國策的作品，但近十年來在台灣文學的研究脈絡中，大多以「是否為皇民文學」的觀點進行探討。然而，濱田隼雄本身在發表《南方移民村》時曾表示，以往的作品「仍屬於自然主義的暴露小說之流」，因而在《南方移民村》的執筆過程中試圖進行「更正」。其於戰後回顧戰爭時期的文學活動時又指出，由於受到戰爭的影響，「扭曲了自身的世界觀」且「喪失了作家精神」，並坦承在戰爭時期不得不改變自身的文學觀。意即，無論戰前或戰後，濱田隼雄受到戰爭影響而改變自身文學觀的這部分是一致的。本文基於以上的論述，欲思考濱田隼雄在《南方移民村》所試圖「更正」的究竟為何？濱田於戰前戰後的論述中所欲貫徹的改變，究竟如何呈現於作品之中？並透過這些考察重新思考《南方移民村》於當時台灣文壇的定位。

From 1940, Hamada Hayao (1909-1973) played an active part as anovelist. In those days, his main stage was the literary magazineLiterature Taiwan (BUNGEI TAIWAN) that was edited by NishikawaMitsuru. Then, Hamada became a representative writer as a Japaneseliving in Taiwan. I discuss here one of his masterpieces, SouthernEmigrant Village (NANPOU IMINSON) mainly.Formerly this novel was seen as a work that accommodates itself to anational policy of the Japanese Empire. But in our current Taiwaneseliterary context, an issue about this work became the question of whetherSouthern Emigrant Village is imperial subject literature (KOMINBUNGAKU). The writer himself talked of this work during wartime, andsaid that former works were examples of naturalism, yet he “tried toreform himself”. After the war, he also mentioned his literary movementof wartime, saying that he had lost the writer’s spirit, and was obliged tochange his literary view because of the war.This paper discusses how the writer Hamada Hayao tried to “reformhimself” in his masterpiece Southern Emigrant Village.