藝術自主與民族大義：「紀弦為文化漢奸說」新探

Abstract

本文在相對豐富的文獻基礎上，重新考察紀弦在淪陷區的行為與言談。一方面，試圖驗證所謂文化漢奸的指控是否可以成立，並探討其與詩人的創作有何關聯；另一方面，也想反過來觀察相關指控如何被操作，從而反思漢奸論述的深層意義。在論述過程中，我釐清了現有的指控不精準之處，並補充了若干關鍵材料。此外，又分別考察了紀弦在戰前、戰時、戰後的創作，掘發了一些內心底層的幽微訊息。最後，我提出的結論是，擺脫漢奸觀念的糾葛，則只有特定群體利益的明智計算，或者個體生命意識的深刻省察，而紀弦不能算是明智或深刻。

This article is based on a relatively rich literature, re-explore Ji Xian’s behavior and writing during Japanese Occupation. On the one hand, I attempts to confirm whether the accuse of so-called cultural-hanjian can be established,and discusses what connection there is between the accuse and poetic creation. On the other hand, I also want to observe reversely how the related accuse to be operated, thus I reconsider the meaning of hanjian-discourse in depth. In an elaboration, I try to rectify some unaccurate points in the existing accuse, and add to some information. In addition, I inspect separately Ji Xian’s poetic text in prewar, wartime, and postwar, to find some messages inside his mind. Finally, I propose we break away from the entanglement of hanjian-discourse, then just pay attention to whether one do prudential calculation on community benefit, and profound introspection on individual life, and I think, Ji Xian was not prudential or profound.