当代中国台湾历史小说中的日据时代书写——以《花开少女华丽岛》《大港的女儿》为中心

Writing about the Japanese-occupied Period,in the Historical Fiction of Taiwan,with Girls Blooming on Pretty Island and Dagang de nü’er as the Centre

杨双子《花开少女华丽岛》(2018)、陈柔缙《大港的女儿》(2020)作为重写日据时代的历史小说,近年受到中国台湾文艺界的推介与讨论。两篇小说皆透射出自当代回返殖民时代时既连续又断裂的历史书写,可通过两部文本的对读来分析小说家重述历史的策略。首先经由梳理殖民历史在台湾地区不同时期的解读,以及“历史小说”作为一个书写门类在中国台湾文学场域的意义流变,并以“日据时代”和“历史小说”定位两部小说;其次分析两部小说为何倾向于以“少女”和“都市”为主要元素结构全文;再分析两部小说中叙事作为构造认同的实践性特征,其“本土话语”是通过想象台湾地区少女之于殖民者的某种“胜利”而达成的:在小说叙事中,并不坚持弱者的哲学,而是蕴含着取代殖民者的希望;最后,对两部小说及其中蕴含的本土叙事提出反思,指出当下中国台湾历史小说具有感觉结构混杂的特征。

Girls Blooming on Pretty Island(2018)by Yang Shuang-zi and Dagang de nü’er(2020)by Chen Roujin,as part of the historical fiction about the Japanese-occupied period,have received recommendation and discussion in recent years in the literary world of Taiwan.The two books,one collection of short stories and the other,a novel,reflect the historical writing,both continuous and broken,that goes back from the contemporary times to the colonial times,and an analysis can be conducted of the novelists’strategy of retelling the history with a comparative reading of the two works.First of all,the two books can be positioned with the ideas of the Japanese-occupied period and the historical fiction,with a reading of various periods in Taiwan region by sorting out the colonial history and with a look at the change of meaning in literary sites in Taiwan by treating the historical fiction as a category of writing.Secondly,the two books can be analyzed to see why they are inclined to structure the texts with the main elements of girls and cities.Thirdly,the practical features can be analyzed of the narrative of the two books in their formation and identification,their native discourse achieved by the success of the Taiwan Residents girls over the colonizers as there is no insistence on the philosophy of the weak in the narrative of fiction which contains the hope of replacing the colonizers.Finally,reflections will be provided on the two novels and the native narrative contained therein by pointing out that historical fiction of Taiwan as it is now has the structures of feeling.