不同時空下的臺日天涯淪落人：1960年代臺語流行歌曲和社會邊緣人

Outcasts of Modern Taiwanese and Japanese Societies: The Socially Marginalized Individuals in Taiwanese Popular Songs in the 1960s

陳培豐(Pei-Feng CHEN)

《文化研究》 28期 (2019/12) Pp. 61-106

https://doi.org/10.6752/JCS.201912_(28).0003

摘要

以1960年代臺、日流行歌曲為取徑，本論文試圖去探究孤獨不安、流浪失業、無依無靠及落魄淪落等社會邊緣人的情感結構，乃是來自什麼原因，在何種時代背景之下，如何被形構而成。在比較江戶時代（1603-1867）末期、大正時期（1912-1926）的日本，以及1960年代臺日兩地所發生的大規模農村人口移動後，本論文發現基於農村人口移動現象之共時性和類似性，臺灣人雖然在1960年代以大量翻唱日本「望鄉歌謠」的方式來作為描繪自身畫像的養分，但對臺日雙方而言，這場人口移動的歷史、社會、政治、經濟與族群意義卻明顯不同。特別是在人口移動發生時，日本政府進行了妥善的配套措施，使離鄉的苦痛、風險、衝擊降低，但國民黨政府卻任由臺灣農村青年孤單前往都市，自生自滅。在不同社會氛圍和條件下，臺日「望鄉歌謠」對於帶有社會邊緣人色彩之作品的需求和喜好，有著明顯不同。為了傾訴自身處境，臺灣人在翻唱「望鄉歌謠」時，便有在地化及擴散翻唱歌曲對象的必要性。而由於1960年代的臺灣社會和以江戶末期為舞臺的「股旅演歌」具疊映關係，因此基於臺灣工業化進程的後進性，以及政治環境的困厄，兩種不同時空的歌曲藉由「同為天涯淪落人」之遭遇為媒介，而有了水乳交融的空間。1960年代間，臺日同步走向高度經濟成長之路，但戰後歷史在兩者身上刻劃的傷痕卻大不相同，而「股旅演歌」的翻唱成為突顯戰後臺日歷史傷痕之深淺的反射物。

關鍵字

社會邊緣人 ； 農村人口移動 ； 集團就職 ； 情感結構 ； 望鄉歌謠 ； 股旅演歌

並列摘要

Taking the Taiwanese and Japanese popular songs as the subject of study, this pa-per attempts to examine the nature of the structure of feeling of the marginalized people and the historical background of its development in the 1960s' Taiwan. After comparing Japan's late Edo period (1603-1867) and the Taisho period (1912-1926), and the rural population movements occurred in both Japan and Taiwan in the 1960s, this paper finds that under different social atmospheres and conditions, the preference of the homesickness songs (Boukyou Enka) for those social marginals were significantly different in Japan and Taiwan. In order to present their own situation, Tai-wanese people localized the subject when covering the genre of Japanese homesickness songs. It also extended to cover the Japanese Wandering Knight-errant tale songs (Mata Tabimono Enka) which often took the late Edo period as the historical stage and echoed the social situation of Taiwan in the 1960s. The two types of song genre merged through the stories of the misfortune in reflecting the backwardness of Taiwan's indus-trialization process and the distress of the political environment. In the 1960s, Taiwan and Japan took a path of high economic growth, but the scars imprinted during the postwar era were very different. The Taiwanese covering of the Wandering Knight-errant tale song became a reflection of the differences in the histori-cal scars of Japan and Taiwan.

並列關鍵字

The social marginals ； Rural emigration ； Structure of feeling ； The homesickness song (Boukyou enka) ； The Wandering Knight-errant tale song (Mata tabimono enka)

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