女性、山村、國策：日治後期張文環的文學活動（1940-1945）

Abstract

張文環為日治時期台灣新文學重要作家之一。1941年，張文環因不認同西川滿之於《文藝台灣》的編輯理念，而另辦《台灣文學》。張文環在創刊號上發表小說〈藝妲之家〉（1941.5），之後多篇小說以其山村生活經驗，並詳述風俗文化的題材為主；其中可觀察到張文環趨向傳統、批評現代資本主義的道德意識，潛藏在小說的角色中。張文環也是《台灣文學》中發表小說數量最多的作家。\n\n1943年4月，發生糞寫實主義論爭，這場論爭突顯西川滿無法忽視《台灣文學》的存在。因為有《台灣文學》的發表平台，得以讓張文環等台灣人作家題材貼近台灣現實的小說，有曝光的機會，並與西川滿等日人作家的台灣書寫相抗衡。因此，張文環除了擔任編輯雜誌，他也發揮小說家的本事，對於擴大「台灣文學」的詮釋空間，極具貢獻。\n\n這場論爭也指出張文環小說中的自然主義色彩，如〈夜猿〉（1942.2）利用寫實精神、寫生手法，以冗長又細膩的情景描寫，再現台灣人的生活風貌。其他因偏重敘事在小說結構上所呈現的缺點，如人物與環境互動描寫不夠深入、敘事情感的落差與不連貫、無明顯情節、開放式結局等，反成為他書寫台灣的特色。\n\n四○年代也是戰爭時期，當張文環在〈夜猿〉中描述和諧的田園生活時，也見帶有時局色彩的作品，如〈頓悟〉（1942.2）為志願兵題材。進入1943年，文學統制日漸嚴峻，如〈迷兒〉（1943.7）中的內台融合隱喻；〈父親的送行〉（1943.12）、〈戰爭〉（1944.6）等極短篇的後方小說；派遣小說〈在雲中〉（1944.11）等。但與上述作品相近時間，也有如〈地方生活〉（1942.10）、〈土地的香味〉（1944.7），傳達對於故鄉的關懷與土地的認同。因此，受時局限制的小說家張文環，在詮釋「台灣文學」時，必須徘徊在故鄉認同與國策動員之中。

Chang Wen-Huan was one of the most important authors representing New Taiwan Literature in the Colonial Taiwan period. In 1941, Chang Wen-Huan established Taiwan Bungaku because he didn’t agree with Nishikawa Mitsuru’s editing principles in Bungei Taiwan. The short story “House of Geisha” was published in the first issue (May 1941), followed by many stories based on his experiences in villages, sharing their cultures. The characters in these works contain evidence of his moral values of promoting traditional values and criticizing modern capitalism. Chang Wen-Huan is also the author who published the most number of stories in Taiwan Bungaku.\n\nIn April 1943, the Kuso Realism debate broke out, which really brought forth Taiwan Bungaku’s presence to Nishikawa Mitsuru. With Taiwan Bungaku acting as a platform, it helped gaining exposure for Chang Wen-Huan and other Taiwanese writers. They were able to publish content that were more realistic to Taiwanese lives, providing a comparison to Nishikawa Mitsuru and the Japanese’s version of Taiwanese writings. Which, not only did Chang Wen-Huan took the role of magazine editor, he also exercised his abilities as a writer, contributed in promoting Taiwanese literature. \n\nThis debate also pointed out the Naturalism elements use in Chang Wen-Huan’s stories. For example, the “Night Monkey” utilized realistic imagery, described Taiwanese lives with lengthy but vivid details. Although his narrative-focused stories have many other flaws, such as lack of interaction between the people and the environment, inconsistency in narration and emotions, and flat and open-ended plots, these characteristics made his Taiwanese writings distinctive. \n\nThe 1940’s was also a time of war. While Chang Wen-Huan showed a peaceful villager’s life in the “Night Monkey”, he also wrote about current events, such as “Epiphany” in Feb 1942, about volunteering to be a soldier. Entering 1943, as literature was being more restricted, he produced works such as “The Lost Child” referring to the Japanese-Taiwanese fusion policy in July 1943; Post-Mobilization stories like “Sayonara, My Son” in Dec 1943, “War” in Jun 1944; and Expedition stories like “In the Cloud” in Nov 1944. Granted, he also wrote stories to show how he identified and cherished his homeland, such as “Live in the Country” in Oct 1942 and “The Aroma of the Land” in Jul 1944. Therefore, when Chang Wen-Huan was characterizing “Taiwanese Literature”, due to political restrictions, he had to dance between cherishing homeland and national policies.