民族主義與社會主義革命下的左翼女性身影：論陳映真與藍博洲的白色恐怖系列作品

Left-wing Female Figures under Nationalism and Socialist Revolution: White Horror Series of Chen Ying-Zhen and Lan Bo-Zhou

本文聚焦探討陳映真的〈山路〉、〈趙南棟〉、藍博洲的《幌馬車之歌》、《臺灣好女人》、《藤纏樹》、《春天－許金玉和辜金良的路》共六部文本作品，探究社會主義思想的蔡千惠、葉春美、宋蓉萱、許月里、蔣碧玉、許金玉、傅雙妹等人的形象與政治意義。陳映真與藍博洲的史觀軸線皆是「反日民族解放運動」到統一的民族解放左翼路線，兩人所塑造的社會主義理念的女性，呈現了男性作家對於左翼革命理想女性的想像與期待。兩人筆下的左翼女性成為母性、妻職、被啟蒙、再生產勞動、關係性角色、階級優先於女性。本文認為階級與民族的宏大敘述使得女性以「一場不快樂的婚姻」作為理念的實踐；其次，女性主體融入到階級議題中，成為階級優先於女性的政治格局；其三，左翼女性典型成為政治上的被啟蒙者、替代性的贖罪者；其四，母性精神成為社會主義與革命理念的延續，母親身分神聖化革命。本文在民族解放、社會主義、女性主體三者「不快樂的婚姻」中，探究左翼男性作家筆下的左翼女性。

This article focuses on the left-wing female characters who experienced White Terror in Chen Ying-Zhen and Lan Bo-Zhou's writings. Chen Ying-Zhen and Lan Bo-Zhou created left-wing women characters from their imagination and expectation. Willing to play multiple roles, such as mothers, wives and labors, became the ideal images of these women. This paper first argues that the grand narrative of social classes and nations tended to ignore the subjectivities of women. Secondly, the female subject was often integrated into the class issues. The political concerns always take precedence over gender issues. Thirdly, the left-wing females were often enlightened by male elites. Finally, in Chen Ying-Zhen and Lan Bo-Zhou's writings, the maternal spirits became socialism and revolutionary ideas. This article explores the roles of the left-wing women in the writings of the left-wing male writers and discusses the ''unhappy marriage'' of national liberation, socialism, and female subjects.