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在1930年代的日据台湾,日语逐渐成为了文坛通用语。在此前后陆续登上文坛的台湾日语作家如杨逵、吕赫若、张文环和龙瑛宗等,在文学创作道路上以扬名日本“中央文坛”的殖民地朝鲜作家张赫宙作为进阶目标,形成了一种特殊的“张赫宙情结”;台湾本岛文学评论界同时也以“张赫宙”及其文学成就作为检讨台湾作家日语创作成就的重要参照体系。通过辨析现代文学中“张赫宙”以弱小民族作家及殖民地日语作家形象渐次浮现的文学历程,可以发现,日据台湾日语作家的“张赫宙情结”固然展示出他们尝试以日语来建设台湾文坛时所剑指的前进方向,亦显露出他们用日语进行文学创作时的创作窘境。
In the 1930s, Japan became the literary language of Taiwan. Afterwards, Taiwanese Japanese writers such as Yang Huan, Lv He Ruo, Zhang Wenhuan and Long Yingzong, who came to the literary world successively before and after, formed an advanced goal in the literary creation style by Zhang Hezhou, a colonial North Korean writer famous in Japan and “Central Literary Circles.” A special “Zhang HeZhou complex”; Taiwan’s island critics also use “Zhang HeZhou” and its literary achievements as an important reference system for reviewing Taiwanese writers’ achievements in Japanese writing. By analyzing the literary history of “Zhang He-zhou” in the modern literature, the image of weak writers and colonial Japanese writers gradually reveals that Japanese writer Zhang Yi-zhou’s complex shows that they are trying to Japanese The direction in which the Taiwanese literary world was constructed was also revealing the creative dilemma they encountered when writing Japanese literature.