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  • 學位論文

陳垂映生平及其小說作品研究—從《暖流寒流》到〈鳳凰花〉

Chen Chui Ying biography and the Research upon His Novels—From “Warm current, Cold current” to “Flame Flower”

指導教授 : 柳書琴

摘要


本文以在台灣文學研究界尚未被充分討論的日據時代作家陳垂映為研究對象,以其長篇小說《暖流寒流》、中篇小說〈鳳凰花〉為中心,探討陳氏藉由留學生之眼,在其小說中傳遞的社會觀察與時代訊息為何?筆者除了仔細閱讀、分析文本之外,還與陳垂映的么子進行訪談,藉此重新梳理陳氏的生平資料,更加了解其創作背景與小說意圖。 本論文分五章進行:第一章是緒論,第五章為結論。第二章為陳垂映的生平研究及其整體的作品分析,第三章主要針對陳氏的長篇小說《暖流寒流》進行分析,第四章則為中篇小說〈鳳凰花〉的細部分析。 陳垂映的代表作主要集中於日據時代,為其年輕時候所創作的日文作品。主題多跟愛情有所關連,表現出其新世代知識份子青春浪漫的思維及對社會改革的樂觀信念。戰後作品發表不多,僅在流行歌詞創作和經濟評論上留下了一些成果。 筆者在論文中分析了陳垂映知名的《暖流寒流》與〈鳳凰花〉兩部小說,發現它們都具有理想化的共同特徵。在《暖流寒流》裡,他用「寒流」代表了造成台灣人悲慘生活兩大因素—外部的殖民經濟剝削和內部的封建性格;用「暖流」象徵台灣的希望—新世代知識階層的理性思維以及相互扶助。陳垂映筆下的「暖流vs.寒流」是一種反思自身社會封建性格、反思留學生墮落生活的對內辯證,也是一種對不合理的殖民結構和資本主義物質主義進行的向外批判。在〈鳳凰花〉中,陳垂映用「鳳凰花」代表直接、熱烈、勇敢、堅強的台灣女性。他用柔性溫暖的筆觸,書寫三位女生的生命故事,期待台灣女性都能像她們一樣,衝破禮俗藩籬,跳脫不幸婚姻枷鎖,過著幸福的生活。 兩部小說不一樣的地方在於,《暖流寒流》強調留學生的社會責任;〈鳳凰花〉在延續這樣的基本主題之外,更加強調男性、女性在婚姻自主、經濟自主和情感自由方面的覺醒。筆者發現吸引陳垂映注目和思考的是:受過新式教育、擁有新觀念、具備穩定職業的新世代女性;在他眼中弱勢女性必須受教育,追求各方面的自主,擺脫家父長輩與同輩男性控制,成為獨立個體。 整體而言,陳垂映書寫的是上流社會菁英階層的世界,這與他的生長背景有關。陳氏家族極為富裕,陳垂映年紀輕輕就讀名校,又有海外生活經驗,所關心的族群比較特殊。相對於張文環擅寫農民等底層小人物,陳垂映則從一個學經濟人的角度,直接且深刻的指出,殖民經濟控制對於台灣農業經濟造成的威脅或破壞。陳垂映因為自身熱情、幸福、幽默、風趣,而想把自己的幸福和光明感染給別人,在這一點上他不僅成功地達成個人目標,也因此樹立了其獨特的文學地位。

並列摘要


In this article, I chose the Japanese colonial period writer Chen Chui Ying as a study subject during the time when Taiwanese literature was yet under discussed. I use one of his novels “Warm current, Cold current” and novella “Flame Flower” as the main topic, by looking through the eye of students overseas, Chen was meant to deliver the social aspect and moral messages behind his literal expression. I divided my research into five separate chapters; the first chapter is the introduction, the fifth is the conclusion, the second chapter is Chen’s biography and his analytical work, chapter three is mainly focused on Chen’s novel “Warm current, Cold current”, and chapter four is the detailed analysis for the novella “Flame Flower” Chen’s masterpieces were mainly created in his younger age during the Japanese colonial period. Most of his works were related to the “LOVE” themes which showed that new intellectual generation had a positive belief towards youthful, romantic thinking and the social revolution. He didn’t have much work left after the war time, only some traces left for pop song lyrics and economic criticism. By looking through Chen Chui Ying‘s two pieces of work, I found out that they share common point like overly idealized social model. In “Warm Current Cold Current”, he used “cold current” to represent the two main factors that were causing the miserable life of the Taiwanese: colonial economy deprivation from the outside and influence of feudal ideology from the inside. By using “warm current”, it symbolized the hope of Taiwan: new intellectual generation’s rational thinking and help for each other. Chen Chui Ying’s “Warm Current Cold Current” is a self reflection of the feudal-minded characteristic, an inner debate for the shady life of students overseas, and also an outward judgment towards an irrational colonial structure and material capitalism. In “Flame Flower”, Chen used “Flame Flower” to embody the straight-forward, aggressive, brave and strong virtues of the Taiwanese women. He used his soft, warm, and gentle touch of writing depicting the life stories of three women. He expected all the women from Taiwan can be like them: to break out from the boundaries of etiquette, free from the shackles of unfortunate marriage and live a happy life. The two different things between the novels are that “Warm Current Cold Current” emphasized on the social responsibilities for students overseas while “Flame Flower” further extended this idea and make it more about male, female’s independent marital, economical choices, and the awakening of their emotional freedom. I found out that what attracts Chen’s eyes was: a new age women with new education, new ideas, and a stable career. In his opinion, women as the weakest link should receive education and pursue freedom in all ways; get rid of controls of the elder family and fellow males, to become an individual being. To sum it up, Chen portrayed a world that very rare people shared and it was related to his background. Chen’s family is very wealthy, he went a prestigious school and had a life experience overseas, the group he cared about was pretty unique. Unlike other folk writers like Chang Wen Huan that illustrated farmers and the underdogs in the society, the farmers in Chen’s eyes were nothing but a hallow shadow. But with his passionate, fortunate, humorous, and up-beat personality, he paid his happiness and positivity forward to everyone else. He successfully achieved his personal goal, also established a unique position of literature.

參考文獻


下村作次郎、黃英哲編,《台灣大眾文學》,台北:前衛,1998年8月。
葉石濤,《台灣文學史綱》,高雄:春暉,2003年10月。
柳書琴,《荊棘之道:旅日青年的文學活動與文化抗爭》,台北:聯經,2009年5月。
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黃慧鳳,〈蔡秋桐小說之研究—日殖民下的文本呈現〉,《問學集》,第11期,2002年06月,頁231-250。

被引用紀錄


林冠廷(2017)。1930年代臺灣新文學婚戀主題小說中的「厭女」分析〔碩士論文,國立臺灣大學〕。華藝線上圖書館。https://doi.org/10.6342/NTU201704116

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