情感作為國族寓言：呂赫若〈冬夜〉的歷史隱喻

Emotional Metaphors of National Allegory: Historical Metaphors in Liu He-ruo’s“Winter Night”

本文以詹明信〈處於跨國資本主義時代中的第三世界文學〉所提出的「國族寓言」理論為核心，剖析呂赫若〈冬夜〉中楊彩鳳三段情感經歷──林木火、郭欽明與王永春──所隱喻的臺灣歷史。研究指出，林木火象徵日本殖民下被動服從與犧牲的臺灣；郭欽明則以「解放者」之名行宰制之實，折射戰後國民政府統治的支配與幻滅；而王永春所呈現的游移身分與不對等依附關係，呼應戰後臺灣逐步捲入外部影響的過渡狀態。小說透過楊彩鳳身體經驗與情感變化的描寫，將個體創傷與集體命運交織，形構出一種使戰後社會緊張氛圍得以被感知的敘事效果。本文主張，〈冬夜〉不僅書寫女性的個人悲劇，更展現第三世界文學中公私領域相互滲透的國族寓言特質。

This article adopts Fredric Jameson’s concept of“national allegory,”as proposed in Third-World Literature in the Era of Multinational Capitalism, as its primary analytical framework to explore how the three emotional relationships experienced by Yang Cai-feng in LüHer-jo’s Winter Night—with Lin Mu-huo, Guo Qin-ming, and Wang Yong-chun—function as narrative mediations of Taiwan’s historical condition. It suggests that Lin Mu-huo figures a mode of passive obedience and expendability shaped by Japanese colonial rule; Guo Qin-ming, who assumes the posture of a“liberator,”embodies a form of domination that exposes the contradictions and disillusionment of postwar Kuomintang governance; and Wang Yong-chun, through his unstable identity and asymmetrical attachment, reflects a transitional moment in which Taiwan becomes increasingly entangled with external forces. By tracing Yang Cai-feng’s bodily experiences and emotional transformations, the novel brings individual suffering into relation with broader historical pressures, producing a narrative texture through which the tense atmosphere of postwar society becomes legible. This article argues that Winter Night does not merely depict a woman’s personal tragedy, but rather exemplifies a mode of national allegory characteristic of Third-World literature, in which the boundaries between the private and the public are persistently blurred.