「自我」的複調：中島敦、龍瑛宗與日本殖民地文學的表述機制

Abstract

本論文藉由討論中島敦與龍瑛宗的文學作品，嘗試解析「殖民地文學中的表述機制」──特別是表述「自我」的自我表述機制。殖民地文學在日本帝國當中佔有的特殊地位，呈現在中央文壇1930年代以來對於殖民地狀況�趣味的需求，而有志於寫作的「作家」志願者便在此獲得文壇入場券，而透過積極投稿、篩選進入文壇體制；然而從另一個角度審視，這樣的書寫卻也是在嘗試與帝國體制「交心表態」，並以此嘗試在文壇上立足。中島敦與龍瑛宗作為身為其中的兩位殖民地作家，「自我表述」在小說文本當中呈現的是強烈的自傳性，以及其透出的對於「自我表現」的欲望，這種自我表現在文本內部結構與外部脈絡之間具有相當複雜的關係。兩人小說文本中自我表述交雜於內與外之間的糾葛，同時是文本內部的「我」的問題也是文本外部的作者的問題。本文嘗試從文學史脈絡與文壇建制�體制開始，以「私小說傳統」、「懸賞徵選」、「中央�殖民地文壇」等議題作為背景，從敘事、文體等表層乃至文本內部深處進行癥狀式閱讀（symptomatic reading），以顯示殖民地文學之中自我表述的機制與其限制。

The present thesis attempts to analyze the technologies of presenting the self—or self-articulation—in Japanese Colonial Literature in Taiwan. Colonial Literature plays a critical role in prewar Imperial Japan, in such a way as satisfying the need of “Central Literary Field” for literary works in colonial situations or exotic sceneries, through which colonial writers—or those who aim at becoming one—can have access to the central institution of literary production, but meanwhile it is also an economy of exchange in which those writers may need to reconcile with the imperial ideology, and such an ideology, with a sense of compromise, is easily seen in those writers’ self-articulations—though things are not that simple. Nakajima Atsushi and Lung Ying-tsung, the two “exemplary” figures in this thesis, “articulates” their “selves” by appropriating abundant biographical materials with a desire to forge new identities, presenting the selves specifically as a writer, a Taiwanese/Japanese, etc. in literary texts; the complexity of such articulations lies in the fact that it depends on not only the “I” in the texts, but the “I” outside of the texts. This thesis starts by discussing literary history in general, with a survey of specific literary genres and incidents as backdrop, such as the I-novel tradition, literary awards and the central/peripheral literary fields. By means of narratology and genre criticism, this thesis further read these texts “symptomatically,” from the core to the surface, seeking to present the technology of literary self-articulations in terms of narrative strategies and medium, and finally, how such a “technology” informs modern readers of the nature and mechanism of Colonialism.