后殖民／本土的马来亚—王润华《热带雨林与殖民地》的拘禁与流动书写

Writing in Custody and Flow in Wong Yoon-Wah's ＂Tropical Rain Forest and Colony＂

解昆桦(Kun-Hua Hsieh)

《南方大學學報》 1卷 (2013/11) Pp. 103-124

摘要

王润华《热带雨林与殖民地》汇聚了诗人过往跨国移动的经验，并上承《橡胶树》的南洋乡土书写，在于同时出版之《地球村神話》回视解构西方之后现代视野的交互策应下，启动了诗人对1949年后童年殖民地的记忆书写。相对于《地球村神話》，《热带雨林与殖民地》中这份对记忆的回溯带有后殖民笔触。诗人在书写这南洋乡土的殖民史是透过重构殖民地空间方式予以完成，因此全诗集的焦点即在于「新村」集中营的空间呈现。诗人透过新村外虽不能移动却能自由生长的雨林，凸显在集中营制度中被殖民者虽然拥有可移动的身体，却被殖民者宰制了自我身体自主权的压抑情境。殖民者对被殖民者的身体控制，还表现在审查制度上。垂临于被殖民者身体的殖民者目光，其实反显出殖民者内在恐惧的阴影。因此诗集中诗人往往以黑影，隐喻集中营外反抗殖民者的“马共”。集中营外反殖民者的主权抗争，本身就在松动殖民者以权／暴力所划下截然二别的分界，使意义发生辩证性的流动。在书写实践上，诗人即在树林、黑影的意象复合、转化下，一方面悲悯过往反殖民者那在斗争中不断残损的肉身，另一方面也将反殖民者升华为具护守、钉根乡土等多层次意义的树林象征，使得乡土成为集结生命共同体的母土。

關鍵字

王润华 ； 《热带雨林与殖民地》 ； 跨国移动 ； 乡土 ； 母土 ； 后殖民诗学 ； 本土诗学

並列摘要

＂Tropical Rain Forest and Colony＂ converges the poet's past experiences of cross-country motion, and is brought down with the South Asian local writing, Rubber Tree. In Myth of Global Tree published simultaneously, he reviews and mingles the post-modern visions of the West, launching the writing after 1949 on his memory of the colony in the childhood. In contrast to ＂Myth of Global Tree＂, the trace of memory in ＂Selva and Colony＂ has a sense of post-colonial touch. The port write the colonial history of native soil in south Asia through reconstructing space of colony. As a result, the whole collection of poems focuses on the space representation of the concentration camp in New Village. Through the rain forest outside the New Village, unmovable yet able to grow freely, he highlighted a conflicting scene-the colonized, in spite of their movable bodies, the autonomy of body was governed by the colonizer. The colonizer's governance of the colonized's body is also incarnated in the examination system. The colonizer's eyesight falling on the colonized reflects a shadow of the colonized's internal fear. Therefore, the poet often exerts the black shadow as a metaphor to signify Malaysian Communist's fighting against the colonized outside the concentration camp. The struggle for autonomy is to loosen the definite boundary set by the colonized by power/violence in order to lead to the dialectical flow of meaning. Regarding practice of writing, with compound and transformation of forest and black shadow, the poet takes pity on the weakening body of the past anti-colonizers in the struggles on one hand. On the other hand, he elevates them as the forest symbol with multiple significations of guarding and rooting native soil that forms native soil as motherland that constructs their life community.

並列關鍵字

Wong Yoon Wah ； Tropical Rain Forest and Colony ； cross-country motion ； native soil ； motherland ； post-colonial poetics ； local poetics