記憶與記憶的鬥爭：白色恐怖時期中共地下黨在台灣文學中的再現

這本論文探討戰後初期在台灣遭到整肅的中共地下黨，在政治逐漸鬆緩之後出現的各種記憶，以及各種歧異記憶之間出現的鬥爭；並試著指出，台灣文學在記憶鬥爭之間顯現的獨特性──挑戰主流化的歷史敘事、抵抗同質化的集體記憶。全文就三波「中共地下黨」記憶生產，透過台灣文學的書寫來闡述不同記憶的鬥爭：（1）以〈倖存者的證言〉為題，討論解嚴後到2000年間的記憶：五〇年代的中共地下黨的倖存者，如葉石濤及蔡德本，在解嚴後意識到其白色恐怖記憶中的「中共」身分敏感性，產製出曖昧的「自傳小說」形式而拓展更多的言說空間。（2）以〈敘事遺產的繼承與反思〉，關注2000年至2010年間記憶：文學書寫者一方面繼承九〇年代口述史與回憶錄的「冤假錯」敘事遺產，另一方面又生出三種「反敘事」的抵抗策略（後設小說、複眼敘事、穿越時空），典型作品即如《藤纏樹》、《海神家族》、《朝顏時光》三部長篇小說對試圖將簡化的歷史進行複雜化。（3）以〈記憶對立的激化與反省〉為題，關注2010年代後文化商品之敘事在市場類型化、人性複雜化之間的鬥爭並妥協，進而出現敘事空白的因應方式。這段時期，先是藍博洲《春天》重新出版，強調這些中共受難者是「烈士敘事」，與當時主流的「冤假錯敘事」形成對立，而後2020年起又有針對前二種「對立」的反省，包括劇場的《紅色青春》和《無／法／對／白》以及文學的顧玉玲《餘地》的反思，以及跨越既有邊界的敘事。綜上三波時期，本研究指認出「中共地下黨」的記憶及敘事之各種鬥爭，以及更重要的，台灣文學打破對立的集體記憶、尋求包容解釋框架的契機。

關鍵字

中共地下黨；省工委；台灣文學；反記憶；反敘事

並列摘要

This paper examines the CCP underground party suppressed in early post-war Taiwan, the various memories that later emerged, and the struggles between these divergent memories. It highlights the unique role of Taiwan literature in challenging mainstream historical narratives and resisting homogenized collective memory. The study focuses on three phases of memory production related to the “CCP underground party” through Taiwan literary works: 1. “Testimonies of Survivors” (1987–2000): Post-Martial Law survivors of the 1950s CCP underground party, such as Yeh Shih-tao and Tsai Te-pen, navigated the sensitivity of their “CCP” identity within White Terror narratives. They used an ambiguous “autobiographical novel” format to create space for expression. 2. “Inheritance and Reflection of Narrative Legacy” (2000–2010): Writers combined the “wrongful conviction” narratives from 1990s oral histories and memoirs with three “anti-narrative” strategies: metafiction, polyphonic narration, and time-travel. Notable works include Teng-tan-shu, Mazu’s bodyguards, and The Morning Glory Era, which complicated simplified historical accounts. 3. “Intensification and Reflection of Conflicting Memories” (Post-2010): This period saw a struggle between market-driven genre narratives and complex human storytelling, leading to a narrative blankness as a response. Works such as Lan Po-chou’s Springtime emphasized “martyr narratives” of CCP victims, contrasting with dominant “wrongful conviction” narratives. From 2020, reflections on these opposing views emerged in theatrical works (Red Youth, No Dialogue) and novels like Ku Yu-ling’s Margin, pushing beyond existing boundaries. These three phases illustrate the struggles over CCP underground party memories and narratives, with Taiwan literature offering opportunities to move beyond oppositional collective memories toward a more inclusive framework.