民俗記述與文學實踐：1940年代臺灣文學葬儀書寫研究

Abstract

本論文以帶有民俗知識話語性質的「民俗記述」隨筆散文，以及將民俗視為創作素材，經由文學轉化後的「民俗書寫」小說文本兩文類為討論對象，聚焦於文學文本中臺灣傳統喪葬儀式再現，討論四○年代臺灣文化場域的民俗風潮下，民俗知識話語與文學文本之間的關聯。隨著殖民地民俗研究的發展，民俗知識話語之成立與演繹，對四○年代文學文本中呈現臺灣民俗時，造成何種言說形式上的影響？其書寫、再現的策略為何？又生發出何種意義？試圖將「葬儀表象」視為探討臺、日兩地�作家交互影響下的「索引」，在推論時透過各文本的深入分析與比較，串連並回應四○年代民俗與文學結合的複雜情形。 首先，以記述喪葬儀式的隨筆散文為材料，就主題、影響與創作形式等三面向，探討散文文本中葬儀表象之特點。其一為聚焦於葬儀主題，因族群與性別的差異，在隨筆記事中再現臺灣傳統葬儀時呈現自我與他者、本土性與殖民現代性的對話關係；其二以池田敏雄與黃鳳姿兩個案為例，探討民俗記述文本的不同模式與記述時的相異視角，並且爬梳二者受到日本民俗學運動的影響痕跡，藉此思考戰爭期背景下殖民地臺灣民俗熱潮的意義；其三以吳新榮散文〈亡妻記〉為分析文本，就其書寫形式上的刻意混融抒情敘事與民俗記述，作為四○年代民俗記述與文學實踐上的具體展現。 再則，就不同族群與性別之作家文本為討論對象，分別擇取庄司總一《陳夫人》（1940）、坂口零子〈鄭一家〉（1941）、呂赫若〈財子壽〉（1942）與辜顏碧霞《流》（1943）四篇作品，以漢人家族史書寫與葬儀再現的主題鏈結各文本，析論葬儀場景的表現手法與在文本中所具有的意義。在再現殖民地傳統葬儀方面，歸結出日本人作家構築文本的「臺灣性」時，必須仰賴真實新聞事件與民俗研究資料的援引，並反應皇民化運動時期以葬儀突顯臺灣人面對新舊衝突的情形；另一方面，臺灣人作家描繪根植於族群經驗的習俗時，透過觀看內部的視角與刻意美學化，使葬儀成為小說敘事的有機體，從表層民俗現象之描摹，進而觸探民俗內實所反映的族群心理狀態。

綜合上述討論，從四○年代書寫葬儀的文學文本中，可見臺日作家透過書寫再現象徵殖民地風物與傳統的葬儀事象，以觀看自我與他者的位置。本研究以葬儀為例，試圖展開以「民俗」為文學批評的視角，一方面可見此時期民俗與文學兩領域互為疊合、交融的情形；另一方面，當我們將「民俗」此一文化符碼視為文學文本的重要構成元素，以此窺看對散文書寫與小說創作造成的影響時，四○年代的臺灣文學作品便擁有多元的詮解可能，其內涵亦能隨之拓展。

The two discussion subjects for the paper are “folklore narration” prose with folklore knowledge discourse and “folklore writing” novels which have applied folklore as the creative material and then transformed by literature. The paper focuses on the reoccurrence of traditional Taiwanese funerals in the literary text to discuss the relation between folklore knowledge discourse and literary text in the 1940s Taiwanese folklore cultural trend. What impact did the colonial folklore study development and folklore knowledge discourse establishment and interpretation have on the speech form in 1940s Taiwanese folklore literary text? What is the writing and reoccurrence strategy? What definition would it develop? The paper attempts to treat “funeral representation” as the “index” of exploring the interaction of Taiwanese and Japanese writers, and connect and respond to the complicated situation of 1940s folklore and literature combination through the in-depth analysis and comparison of various texts. The funeral narration prose is used as the material to explore the characteristics of funeral representation in the three orientations of theme, impact and creative form. First, it focuses on the funeral theme to present the conversation relation of self and others, and local and colonial modernity due to ethnic and gender differences in the reoccurrence of traditional Taiwanese funerals. Second, it takes Toshio Ikeda and Fong-zhi Huang as examples to explore the different modes and narrating perspectives of folklore narration text, and collects the trace of the two being impacted by the Japanese folklore movement to think about the meaning of colonial Taiwanese folklore trends in the war period. Third, Perished Wife, by S.R. Wu, is used as the analysis text; it applies the deliberative mixing, lyrical and folklore narration writing from the specific performance of 1940s folklore narration and literary practice. Additionally, writers from different ethnic groups and genders are used as the discussion subject. The four books, Mrs. Chen, by S. Shoji (1940), The Zhangs, by R. Sakaguchi (1941), Tsaitzushou, by H.R. Lu (1942), and Flow, by B. Kuyang (1943), applied Han Chinese history writing and funeral reoccurrences as the themes to connect various texts, and analyze the funeral scene performance practices and its meaning in the text. In the reoccurrence of traditional colonial funerals, it attributed the situation of when Japanese writers have to depend on true news events and folklore studies as citations to construct “Taiwanese style” texts, and showed the situation of Taiwanese using funerals to face the conflicts between new and old in the Japanese colonial period. On the other hand, when describing the customs rooted in the ethnic experience, Taiwanese writers will use viewing the internal perspective and deliberative aesthetics to allow funerals to become the organism of novel narration, and further explore the folklore reflected state of mind from the description of folklore phenomena. To conclude, in the literary text of 1940s funeral writing, it can be seen that Taiwanese and Japanese writers use writing to recreate the phenomena that symbolize colonial folklore and traditional funerals, and to view the places of self and others. The study takes funerals as an example, attempts to show the perspective using “folklore” as literature criticism. On one hand, it can see that folklore and literature have superimposed each other in this period. On the other hand, when we treat “folklore” as an important component element of literary text to look at the impact resulting from prose writing and novel creation, 1940s Taiwanese literature will possibility be diversely interpreted, and its content can also be developed.