台灣原住民文學的逆寫策略：以小說《玉山魂》為例

台灣文學在80年代後期因為有不同族群的原住民作家加入，增添了多元的風貌。然而台灣原住民作家在文學創作時，面臨最大也是最先碰到的障礙，即是書寫語言的問題。原住民母語與漢語之間有著許多文化差異，在運用漢語的過程中，原住民難以避免受到漢人文化的思維與邏輯影響，當原住民不得不使用漢語為書寫工具時，除非是完全向中心靠攏，以排斥自己本源的態度，完全向中心模仿，否則透過各種書寫策略，奪取位於中心的語言，重新把它設置於完全地適應於原住民的話語，以定義自己，此種逆寫情況便會發生。在逆寫過程中，原住民作家透過何種方式藉由漢語表達，並兼顧書寫主體？又如何在漢語現有語言架構下，表述族群文化精髓，再現文化特質？本文以比爾．阿希克洛夫特（Bill Ashcroft）等人所提出之後殖民寫作的文本書寫之「挪用」策略，探析霍斯陸曼．伐伐2006年出版的小說《玉山魂》一書，深究霍斯陸曼．伐伐如何經由這樣的逆寫策略，讓原住民書寫的去中心能夠展開，以本身族群為書寫主體，在漢語的權力架構下運用漢語逆寫，同時兼顧傳承布農族語言精華，凝視自身族群歷史，重新建構布農文化世界，立足主體位置展現布農文化最動人的內在特質。

關鍵字

玉山魂；霍斯陸曼．伐伐；後殖民文學；原住民文學

並列摘要

Taiwanese literature in the late 90s was enriched by a group of indigenous writers coming from several different tribes. However, the greatest and foremost difficulty indigenous writers have to face during literary creation is the language problem. There exist a number of cultural differences between Chinese and the languages of indigenous people. When using Chinese in writing, writers from an indigenous background cannot help being influenced by the dominant ideologies in Chinese culture. Therefore, when writing in Chinese, unless these writers incline toward the hegemonic center at the expense of their own cultural origin, in other words a full imitation of the hegemony, they inevitably have to ”write back to the center” by re-adapting their writing in the context of their own culture, to redefine themselves and through various writing strategies reclaim the center. How do indigenous writers express themselves in Chinese without compromising their writing integrity during the process of writing back? And how do they, under the current Chinese linguistic structure, bring out the essence of indigenous culture, and its features? This article applies Bill Ashcroft's and others' concepts of appropriation in postcolonial writing to the study of Husluma Vava's ”The Soul of Yushan” published in 2006, in order to find out how Vava, through the process of writing back, carry out the decentering in indigenous writing. Vava in his book writes about his own people, a writing back in the Chinese language, under the Chinese power structure, without sacrificing the linguistic essence of the Bunun people. It offers an insight into the history of indigenous people, and a reconstruction of their cultural world, while at the same time, it displays the most charming elements of their culture.