《台灣三部曲》之《風前塵埃》－歷史書寫後設小說的共時與共在

本研究以施叔青的《台灣三部曲》之第二部《風前塵埃》為研究對象，以歷史書寫後設小說及跨國族女性主義為探討此書的雙重出發點。除了詳實的歷史檔案記述，此書也以書寫（含言說）及回憶為探討主題，以書寫來呈現書寫的困難、書寫的慾望、慾望的受挫、以及書寫帶來的記憶與失憶。本文分為三部份，首先介紹歷史書寫後設小說的特色；其次討論此書多重時間與空間的交織，以及由此形成之不同記憶的共時與共在；第三部份則以跨國女性主義的觀點，分析性別、階級、種族的多重互動關係。小說中人物於多重互動關係中的位置變化也凸顯了作者的書寫策略，用以呈現不同角色面對歷史與遺忘歷史的態度差異。此書以原住民代表台灣，然而其主要書寫對象其實是灣生日本女性。在原住民男性與日本女性的情慾關係中，日本女性採取主動位置，而原住民男性則成為滿足女性情色慾望的客體。同時，可能是兩人情慾關係所生下的女兒，在歷經台灣尋根之旅後，最後選擇擁抱日本帝國主義的戰爭美學。此書以日本人為發言主體，弔詭地暴露出作者對台灣既關注又逃逸的曖昧立場。

關鍵字

《台灣三部曲》；《風前塵埃》；歷史書寫後設小說；跨國族女性主義；關係性的位置

並列摘要

This paper intends to study the second piece of ”Taiwan Trilogy”-”Dust in the Wind” by using historiographic metafiction and transnational feminism as the double points of departure. In addition to the detailed description of historical documents, this novel also explores the theme of writing and reminiscence: the difficulties of writing, the desire of writing, the frustration of writing desires, and the retrieval and loss of memory through writing. This paper consists of three parts. First, I will introduce the characteristics of historiographic metafiction. Second, I will discuss the interweaving of multiple dimensions of time and space in this novel, with the result that different historical periods and places co-exist with each other. Third, I will use the perspective of transnational feminism to analyze the multiple interactions of gender, class, and race. The changing positions of characters situated in these multiple relations express their different attitudes of confronting history and forgetting history. This book uses indigenous people to represent Taiwan, but its main concerns are given to Japanese women born in Taiwan. In the erotic relationship between the Japanese woman and the indigenous man, the former plays the active role, while the latter becomes the object of female desire. In the meanwhile, after going through a trip to Taiwan, the second-generation woman, who may be their daughter, chooses to embrace the military aesthetics of Japanese imperialism in the end of the book. This novel speaks from the perspective of Japanese women, thereby exposing the ambiguous position of the author, who is concerned with Taiwan but paradoxically escape from Taiwan.