“发现满洲”:拜阔夫小说中的“密林”与“虎王”意象

“Discovering Manchuria”:The Imaging of “Woods” and “Tiger King” in Baikov's Novels

流亡"满洲"的白俄作家拜阔夫,其风土书写是伪满洲国文学里以曲笔批判帝国主义资本剥削,却仍畅销风行的异数。他最具代表性的小说《大王》《牝虎》以"去政治化"的风土书写揭示殖民主义计划性经济开发的不正当性。此外,笔者也尝试探讨作品中的"密林"与"虎王"这两个多义性意象在不同语境中产生的歧义解读。密林世界是拜阔夫小说的"拟乡愁"装置,借此再现一种"消失的风景"。读者通过阅读作品"发现满洲"。对失去祖国的作者和"满系"作家来说,小说中的密林封存了他们真实生活过且尚未变易的风土。然而,日本军国主义者却挪用上述意象,鼓吹皇道精神与大东亚文学理想,密林成了履践伪满洲国建国精神的"王道乐土",是故拜阔夫文学的创作理念及其东亚传播,最终只是一场同床异梦的各自表述。

The custom writing by the white diaspora Russian writer in ＂Manchuria＂Baikov,focusing on the implicit criticism on the capital exploitation of imperialism in ＂Manchukuo＂ literature,is a rare case for its popularity.This paper analyzes the most representative novels by Baikov,King and Tigress,pointing out that the writer discloses the unfairness of the planned economic development of colonialism through＂depoliticized＂custom writing. Besides,I also attempt to explore the interpretation of disagreement generated in the contexts of different languages in the polysemical imaging of＂woods＂and＂tiger king＂in Baikov＇s works. This paper proposes that the world of deep forest is a device ＂simulating homesickness＂in his novels. Through the device,Baikov represents a kind of＂disappeared scenery.＂By reading the works,the readers ＂discover Manchuria＂. For the author losing his country and Manchurian writers,the deep forest in the novel seals up the custom they have actually experienced without changing. However,the Japanese militarists appropriate the abovementioned images to advocate imperialist spirit and the ideal of Great Eastern Asian Literature. Deep forest then becomes the ＂dreamland of the kingly way＂for the founding of＂Manchuria＂.Therefore,the concept of the creation of Baikov＇s writing and its propaganda in Eastern Asia ultimately turn into different ways to define themselves on their own.