伪满洲国文学之“修饰的镜像”——以但娣《忽玛河之夜》为起点的考察

Modified Mirror Images of the Puppet Manchukuo——A Case Study of The Night of Huma River by Dan Di

伪满洲国文学,是在日本殖民的"死亡阴影"里活着的文学。在伪满洲国存续的14年中,那些以文学为生命的作家,以自己的方式坚持着创作和精神的独立。这些作家在中华人民共和国成立后,受到过极左思想的冲击,很多人的作品被误解、曲解,大部分人被打上"伪满作家""汉奸文人""落水文人"等标签而陷入缄默。新时期(1978年)以来,这一特殊时空的作家和作品开始得到公正的评价,一些作品也得以结集再版与读者见面。然而,这些几十年后本该作为伪满洲国时期"镜像"的作品,却出现了一些"被修饰"的痕迹,或删除"殖民化元素",或增补"抗日元素"。这种"修饰的镜像"增加了我们从史料上客观真实地研究伪满洲国文学的难度,同时,也揭示了不同历史阶段作家复杂的精神历程。以但娣短篇小说《忽玛河之夜》为起点进行考察,有助于探索伪满洲国时期作品被修改后的影响和背后的原因。

The Puppet Manchukuo literature is said to be a living one in the shadow of death in Japanese colonial literature. During the period of Puppet Manchukuo, the writers who lived on literature insisted on creation and spirit independence in their own ways. The writers were impacted by extreme left-wing view after the foundation of the People＇s Republic of China. Many of their works were misunderstood and misinterpreted. Most of the writers fell into silence because they were labeled as＂Puppet Manchukuo writers＂＂traitor literati＂or＂drowning literati＂. Since 1978,these writers and their works in such a special period and space began to get fair evaluation. Some of their works were edited and republished to readers. While the works supposed to be ＂mirror image＂of Puppet Manchukuo period came up with some signs of being modified, some elements of colonization were deleted. Some anti-Japanjese elements were added. Then such modified mirror images increase the difficulty for us to research Puppet Manchukuo literature objectively and sincerely. Meanwhile, the complex spirit experiences of writers in different historical stages are expressed, too. This research is based and started on the novel The Night of Huma River wrote by Dan Di, so as to explore the influence and underneath reason of those works amended in Puppet Manchukuo period.