「新體制」下的社會／自我凝視－濱田隼雄〈甘井君的私小說〉的脈絡性閱讀

濱田隼雄的〈甘井君の私小說〉，寫於《南方移民村》在日本內地發行單行本（1942年7月）後、及其赴東京參加第一屆「大東亞文學者大會」（1942年11月）前夕，亦即其向國策文學轉向的關鍵時期。這篇小說具部分的自傳性色彩，卻又並非自傳性小說，而是一篇「關於私小說的小說」，且與當時臺灣、日本的文藝評論文學活動有高度的互文性。濱田透過小說人物甘井君的文學活動及其與文學界之交遊關係，將日治末期／「新體制」下的臺灣文學界予以形象化進行諷刺，對「新體制」下激進之皇民化運動及文藝政策對言論空間的壓迫，進行了在戰爭時期罕見的尖銳諷刺，也映照出作者自身在「新體制」下的複雜性及陰暗面。〈甘井君の私小說〉向來缺乏研究。本文將之對照以創作前後期間臺灣文學界的文藝評論、及外地臺灣與日本中央文壇文藝思潮之連動，並置入「新體制」下臺灣文學界的文脈閱讀。嘗試更具體掌握小說的諷刺／指涉對象，也希望藉此更完整地勾勒出濱田隼雄及其作品的面貌，並拓展出戰爭時期濱田隼雄作家位置的解讀可能性。

關鍵字

濱田隼雄；〈甘井君的私小說〉；轉向；寫實主義；外地文學；新體制

並列摘要

＂Amaikun's I-Novel＂ by Hamada Hayao was written during a crucial period in which the author was making a shift of genre towards national policy literature, and just before he participated in the 1st ＂The Great East-Asia Writer's Conference＂ held in Tokyo. This work was in-part autobiographical, but not an ＂INovel＂ of Hamada. More precisely, it was a meta-fiction about the ＂I-Novel＂, and had a highly intertextual relationship with the literary criticism of Japan and Taiwan. Portrayed through Amaikun's literary activities and his friendships in literary circles, Hamada puts forth an ironic representation of literary society in the late period under Japanese rule. It is noteworthy that this work uncommonly displayed sharp critiques of the radical ＂Kominka Movement＂ under the ＂New Order＂ system and the oppression of national literature policy, as well as reflected the complexity and inner dimensions of Hamada himself. In this article, I placed this largely-ignored work within the context of the Taiwan literary world of 1942, and attempted to facilitate possible explanations of Hamada Hayao's ideological leanings during the war period.