- 學位論文
日本的中華認識－以「中華小廚師」的敘事與想像為例
The Japanese Perspective on "Chung Hua": A Narrative Analysis of Manga Chunka Ichiban
摘要
在近代亞洲的歷史上，日本一直執外交與經濟牛耳的地位。然而日本侵略戰爭所造成的傷痛，使得亞洲各國對日本的批判不曾減少，日本與亞洲的互動過程中便一直遭受他國的猜忌與顧慮；而回過頭來檢視日本國內，在歷經侵略國至戰敗國，國內左翼與右翼份子關於自我認識的爭辯，也可察見彼等內心的焦慮與矛盾。在與亞洲各國的互動，以及日本的自我認識層面上，「中國」一直是個關鍵的語境與對象，中國與日本可謂經歷了相互糾結卻又彼此齟齬的歷史過程，如何釐清兩者的關係乃是一複雜的課題。 一位日本通指出，日本人對中國感情強烈而糾結（Reischauer, 1977），日本和中國的身分界線一直是思想界長期研究的議題，尤以戰後日本對中國的認識更為複雜，日本一方面想抓緊中國，卻一方面想拋棄中國。不論從漢學到支那學，或是以亞洲為參照的中國學，近代日本的中國認識無論在學術或政治層面都長期處於爭論與擺盪的狀態。 政治與文化層面皆無法完全與中國切割，日本思想家在背負著矛盾情感記憶的前提下，其心底中的中國樣貌究竟為何？過去學術界大多探討日本知識界的中國學發展，甚少將焦點貼近社會，如日本大眾文化。本論文針對這一點空白，以同時探討日本知識界與漫畫的中華想像為主，並選擇富饒中華性的《中華小廚師》為研究文本，採取「新文化史」與「一般知識」為研究途徑，勾勒日本的「中華」認識。 漫畫事實上折射了現代日本人的某種存在方式，從《中華小廚師》的文本當中，可以隱約發現小川悦司仍呈現了當自身為後進的角色時，如何透過「中華」來釐清自我身分。身為後進的角色，不可避免要面對先進的課題，而這同時要處理認識自我的態度。不論是小川悦司的《中華小廚師》，或是德川時代的知識分子，皆體現了如何在先進與後輩中自我定位，其處理的過程中必定交雜著緊張與焦慮，此時「中華」扮演的不是一個靜止的世界觀，而是不斷在實踐與重組中建立自我的方法。簡言之，兩者在中華思想下皆進行了對自我的再認同。
並列摘要
Japan has lead Asia diplomatically as well as economically throughout much of modern history. Despite its preeminence in traditional realms of power, the atrocities inflicted by the Japanese war machine during the invasions has invited unrelenting criticism from many Asian countries. Japan’s interactions with Asia has inspired much skepticism and concern if not open hostility. When one examines Japanese domestic debates between the two sides of the political spectrum, from its aggression to its defeat, one could feel a sense of anxiety and self-contradictions concerning its self-identity. “China” has remained a key word and plays a substantial role with regard to the Japanese identity as well as its interaction with Asian countries. An effort has to be made to resolve the differences between the two. The boundaries of identity between Japan and China has always been a subject of interest in the realm of political philosophy, especially in the aftermath of the Second World War, when Japan’s cognition of China became more complicated as it tries to hold onto China on the one hand while attempting to let China go with the other. From Chugoku studies to Sinology, and China Studies that sets Asia as a point of reference, modern Japanese cognition of China has been an object of debate in both the academic realm and the political arena. Unable to sever its links with China politically and culturally, Japanese philosophers are burdened with conflicting emotions and memories when it comes to their perception of China. In the past, scholars often focus on China Studies of the Japanese academics to comprehend its cognition of China. Rare is the scholar that focuses on social, specifically popular culture. This paper seeks to fill in this blank with a research on Japanese academics and the cognition of “Chung Hua” manifest in Japanese Mangas. One had selected Chunka Ichiban as the object of study due its richness of Chinese elements. While employing the multitude thought approach, one seeks to outline the essence of Japanese cognition of Chung Hua. Mangas reflect a certain mode of existence for the modern Japanese people. From the study of the object, one could perceive how the author sorts out his self-identity through interaction with “Chung Hua.” From scholars in the Tokugawa Times to Etsushi Ogawa’s Chunghua Ichiban, one perceives a degree of anxiety and tension between established talents and the newcomers. In times of turbulence, “Chung Hua” acts not as a static view of the world, but a means of establishing oneself through endless efforts of deeds and reorganization. To put it simply, both the master and the apprentice examines oneself under the thought of “Chung Hua.”