“我”“他”之间:从“写真”意象看不同世代台湾作家的写作——以《玉兰花》《风前尘埃》《被写体の幸福》为例  

Between I and Him:A Look at Writing by Taiwan residents Writers of Different Generations from the Image of xiezhen,or'Authentic Writing',with the Examples of'The Yulan magnolia',Dust before the Wind,and'Happiness of a Written

作　　者：王睿妍 Wang Ruiyan

机构地区：[1]北京大学中国语言文学系

出　　处：《华文文学》2024年第4期50-59,共10页Literatures in Chinese

摘　　要：作为日据时期殖民现代性的重要表征之一,“写真”这一意象在中国台湾作家的笔下经常具有或鲜明或隐微的重层内涵,为“写真”这一现代技艺赋予了超越视觉感官与艺术审美的意义增殖,尤其是拍摄双方透过照相机所构成的“我”/“他”之间的联系与分界,更隐喻着中国台湾地区与日本之间复杂纷乱的历史关联。本文即以日据时期中国台湾作家吕赫若的《玉兰花》、战后出生的第一代中国台湾作家施叔青的《风前尘埃》和80后在日中国台湾人作家温又柔的《被写体の幸福》这三部出自不同世代中国台湾作家之手的作品为中心,分析其中的“写真”意象及其寓意。As one of the important features of colonial modernity in the Japan-occupied period,the image of xiezhen,or'authentic writing',often contains vivid or subtle multiple layers under the pen of the Taiwan residents,China writers,endowing the modern technique of xiezhen with a proliferation of meaning that transcends visual senses and artistic aesthetics;in particular,the connection and the demarcation of boundary formed between'T'and'him'by the cameras used by either side that is photographing are a metaphor for the complex and confusing historical connection between the Taiwan region of China and Japan.This article is based on The Yulan magnolia'by Lu Ho-jo,a Taiwan residents,China writer in the Japan-occupied period,Dust before the Wind by Shih Shu-ching,the first-generation Taiwan residents,China writer born after the war,and'Happiness of a Written Object'by Wen Yuju,a born-in-the-1980s Taiwan residents,China writer based in Japan,and,with these works from Taiwan residents,China writers of different generations,conducts an analysis of the image of xiezhen in them and its meaning.

关 键 词：写真 殖民现代性 吕赫若 施叔青 温又柔 

分 类 号：I207.4[文学—中国文学]