| 中文摘要 |
過去以來，有關日治時代臺灣小說史的發展，一般多注意賴和以降的雅文學作家、作品，而忽略了當時更受時人歡迎的通俗小說的存在及其繁榮現象，甚至不乏出現負面性之創作評價。對此，本文擬以「通俗」做為思考向度，並嘗試引入雅／俗並觀的臺灣小說史詮釋框架，進一步觀察在雅／俗小說系統中，某些觀照議題相近似的書寫，例如在自由戀愛、現代文明、封建社會、臺灣空間、國策呼應……等面向之差異性與互補性，藉此掘發通俗小說別具面目之特殊創作意義。而在剖析過程中，本文將以寫就不少中文言情小說，包括出版《桃花江》、《韭菜花》、《黎明之歌》、《大地之春》、《莎秧的鐘》、《花非花》等，素來被視為箇中翹楚的吳漫沙及其作品，做為本文案例加以說明。雖然吳漫沙之作品，倘就類型而言，大多屬於言情之作，創作類型稍顯單一，然而這些小說對男女情慾靈肉心性的思索辯證，堪稱當時臺人的戀愛教科書，尤其從日常生活中所刻畫出的新時代男女社交愛情圖像，或現代性都會文明與娛樂消費情景，以及個人多種身體樣態與社會秩序的衝突協商關係，可謂當時臺灣社會環境氛圍之絕佳顯影。其次，因為吳漫沙出身福建的中國「華僑」身份，故其小說中的場景、空間，經常在臺灣、中國跨界位移，小說非唯具備豐富的地誌書寫，也同時彰顯了其人微妙的地域政治思考。另外，進入戰爭期後期，他除皇民文學的寫作外，尚有作品同時涉入了戰爭文學、興亞文學、和平文學、大東亞文學之文學邊界，相較同期臺灣本土作家筆下的皇民文學面目，更顯複雜而糾葛，昭示了吳氏小說世界中重層繁複的東亞想像。因此，正因為吳漫沙小說內容的涵蓋層面甚廣，故從「日常生活」到「興亞聖戰」在「常」與「非常」狀態中，其所表現出的小說技藝、修辭倫理與國族慾望，實在引人注目，更何況其中所述，還不乏有諸多典雅文學小說議題與鄉土性描寫頗相呼應者，因此細加明辨，更能有助於釐析雅／俗小說性質、筆法之則，故本文特別針對其人其作予以討論。不過，設若吾人不將上述僅僅視為單純的作家作品論的探索，以及擱置一般慣見的小說類型論研究模式，則吳漫沙此等包裹在「言情」框架裡的相關書寫，便不妨可以當成是作家由「言情」視域出發，觀看臺灣、解讀臺灣的某種獨特姿勢，於是此類作品便是日治臺灣種種現象的化身，而吳漫沙即採取這種通俗／言情的殊異角度，傳達、再現了其人相關臺灣感覺結構的文學操作與論述實踐。
When it comes to development of Taiwan literature during the Japanese colonial period, only the serious literary writers and works, which initiated by the writer Lai Ho, has been draw considerable attention while the emerging and the flourishing of popular fiction , which were much more popular at that time , was usually neglected or even accepted negative critics. Therefore, in view of reconsidering the definition and meaning of popular fiction, this paper attempts to construct a new interpretative structure on Taiwan fiction and juxtapose popular and serious fictions. Furthermore, this paper would compare the similar issues discussed in both systems, such as freedom of choice in marriage, modern civilization, feudal society, the topographic description of Taiwan, the response of national policies and so on, and thus try to uncover the distinctive and significant meaning of the production of popular fiction. During the analysis process, this paper would focus on Wu Man-sha and his romance fiction to illustrate the meaning of these issues carried in Taiwan's romance fiction during the Japanese rule. Wu Man-sha was a representative writer of this genre at that time and published a lot of romance works, such as 'The Taohua River,' 'The Leeks' Flowers,' 'The Song of Dawn,' 'The Sprin,' 'Sayan's Bell' and 'A Flower Is Not Only A Flower.' Even though most of Wu's works were romance fiction, the complicated dialectical thoughts, about the mental, erotic and affective relationship between the male and the female, carried among these works make them serve as not only love story but love textbooks for Taiwanese at that time. While he tries to narrate the daily life in his fiction, his descriptions on the social and affectionate relationship between the 'new' male and female, the modern city's culture and entertaining consuming situation, and the varied physical performances of an individual and its conflicts and negotiation with social order, all compose a whole atmosphere of Taiwan's society at that time. Furthermore, while Wu comes from China's Fujian, he also owes a migrating identity as an expatriate. This background experience thus results in the cross-border writing in his fiction, while the scenes and space he narrated often shifts between China and Taiwan. With the cross-border writing and description, Wu's fiction not only contains rich topographic representations, but also shows his subtle consideration about the regional politics. In addition, in the latter part of the war period, Wu's works cross the literal borders between war literature, Asia-promoting literature (興亞文學), peace- preaching literature (和平文學) and the great Asia literature except his Kominka works (皇民文學). In contrast with his same-generation writers' Kominka literature, Wu's works perform a more complicated and entangled consideration and show up his overlapping and inextricable imagination of East Asia. After all, since the contents of Wu's fiction contain varied perspectives, the variations of his fiction's narrative techniques, rhetorical ethics and national desire, from the 'normal' to the 'abnormal,' and from 'daily life' to the 'Great Asia War,' has drawn a lot of attention. Moreover, some of the narrative and description of his fiction also quite corresponds to the topics and the local geographic description carried in serious literary fiction. Hence, to closely analyze these features indeed helps us clarify the differences, of both essence and writing style, between serious and popular literature. Nevertheless, instead of viewing this paper merely as a simple research of one author and his works and suspending the usual research structure on fiction genre theory, Wu's writing within romance discourse and structure could be examined as one unique speaking position and strategy that tries to review and interpret Taiwan society from a romance horizon. Over all, since the genre of romance fiction served as the illustrate representation of varied social phenomenon of Taiwan, Wu's works just apply this point of view of popular romance to express and represent his literary operation and discourse practices, which also respond to the structure of feeling of that Taiwan of the Japanese colonial period. |
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