戰後在臺菲華小說

Abstract

菲律賓於戰後獲得獨立，開始建立了一個新的國家認同；這一變故對菲律賓的華人造成負面影響。如同Benedict Anderson「想像共同體」理論的解釋，菲律賓式「民族主義」的國家文學導致了華文文學在菲律賓社會的邊緣化。當時，儘管有些華僑已身為第二代，並且在菲律賓生活並受教育，但仍有不少在菲國的華人沒有入菲律賓籍，仍然保有中華民國的國籍。然而，這些從小讀國民黨資助的華僑學校的第二代，由於環境的關係，也學習菲律賓文和英文。菲華作家的創作語言是中文，由於菲華文學以非官方語言創作，因此沒有被視為菲律賓國家文學的一個部分；相反地，這個時候在臺灣卻出現了大量的菲律賓華文文學作品。 而且隨著20世紀60年代，現實主義對當代文學的影響，菲華文學也呈現此一潮流。戰後在臺菲華作家寫的現實小說不僅描繪戰後菲華社會，也符合Deleuze和Guattari「小文學」理論的概念，在作品中表現於語言、政治和共同價值三個議題。

Following the Second World War, the Philippines had acquired independence, and was in the midst of constructing a new “national identity”; a turn of events which had a negative impact on the local Chinese population. For reasons explained in Benedict Anderson’s “Imagined Communities”, Philippine nationalism ultimately resulted in the marginalization of ethnic-Chinese community. At the time, a considerable number of ethnic-Chinese in the Philippines still did not possess Philippine citizenship. Despite the fact that many of these people were born raised and educated in the Philippines, many were still legal citizens of the Republic of China. This group typically received a Chinese education in private schools funded by the Kuomintang government, and would also learn the two official languages, Tagalog and English. However, the literature they produced was written in Chinese (a non-official language), and was therefore not seen as part of “Philippine National Literature.” Thus, large amounts of Philippine Chinese Literature began to be published in Taiwan during this time. During the 1960’s, the influence of realism within contemporary literature was on the rise, with Philippine Chinese Literature being no exception. Its works of realistic fiction not only depict post-war Philippine Chinese society, but also reflect the characteristics outlined in Deleuze and Guattari’s “minor literature” theory, with regards to language, politics, and collective value.