「文協」兼「文友」的本省作家：論1950年代施翠峰的創作能動性

A Taiwanese Writer in the Wenxie and the Wenyou: Shi, Cui-Feng's Kinetics of Creativity in the 1950s

顏汝蓉(Yen, Ju-Jung)

《藝見學刊》 20期 (2020/10) Pp. 25-37

https://doi.org/10.6207/ART-VISION.202010_(20).025-037

摘要

戰後的臺灣文壇，許多本省作家因為語言的轉換，或是受到「二二八陰影」等其他政治迫害而逐漸銷聲匿跡，取而代之的是，掌握較多「文化資本」的外省作家。而1950年代被視為反共文學最盛行的時代，本省作家如何在反共文藝的縫隙，展現其創作能動性，甚至獲得文獎會的肯定，這是文學界經常討論的範疇。其中，筆者留意到施翠峰，他是戰後最早使用中文大量寫作的本省作家，在1950年代，不僅是《文友通訊》的成員，也是「中國文藝協會」的一員，可知其寫作表現獲得本省與外省人的肯定，尤其參與後者顯然是外省作家的大本營，在參與兩者文學團體的同時，是否會帶來「省籍」的寫作衝突，進而影響施氏的創作？比起其他本省作家，施翠峰的角色更顯特殊，但在過去的研究中，往往會因其藝術與民俗學的貢獻，而忽略他在1950年代曾有的文學創作。本論文將歸結施翠峰1950年代的創作觀，探討施氏如何突圍文壇上普遍的反共文學題材，且在因應反共文藝政策的同時，展現其創作能動性。

關鍵字

中國文藝協會 ； 文友通訊 ； 本省作家 ； 施翠峰 ； 創作能動性

並列摘要

The poswar Taiwanese literary scene was one in which many provincial writers faced challenges such as linguistic conversions and political oppressions, such as the 228 Incident, leading to a gradual decline in activity and social presence. Those who filled the vacuum were mainland writers with more cultural capital. The 1950s was a period when anti-communist literature thrived, and provincial writers sought to demonstrate their creative mobility by navigating within the crevices of anti-communist art and becoming recognized by the Chinese Literature and Arts Prize Committee. These are the subject matters often discussed among literary circles. This author took particular note of the activities of Shi Cui-Feng, a provincial writer who was the first to use Chinese to generate a prolific portfolio of literary creations. He was not only a member of the Wenyou Tongxun (＂Newsletter of Literary Friends,＂ Wenyou), but also a member of the Zhongguo Wenyi Xiehui (＂Chinese Literature and Arts Association,＂ Wenxie), essentially meaning that both provincials and mainlanders recognized his works. Considering that the Wenxie was the major bastion for mainland writers, would his participation in both associations lead to conflicting ＂provincialism＂ that impacts his creativity? While Shi Cui-Feng's role is quite peculiar compared with other provincial writers, past research often focused on his artistic and ethnographical contributions and ignored his literary works produced in the 1950s. This research attempts at a synthesis of Shi Cui-Feng's creative perspectives in the 1950s. It discusses how he transcended the generic anti-communist literary subject matter that flooded the literary scene at the time, and how his kinetics of creativity responded to policies dictating anti-communist art and literature.

並列關鍵字

Zhongguo Wenyi Xiehui (Chinese Literature and Arts Association) ； Wenyou Tongxun (Newsletter of Literary Friends) ； provincial writer ； Shi Cui-Feng ； Kinetics of creativity