文化交流下的歷史印記：論陳映真和黃春明小說中的美國人形象建構

以美國（人）作為寫作題材可以說是六、七○年代對異國形象描述的大宗，其中有兩方面值得我們注意，一是美國大兵、酒吧和性工作者是大部分作家關注的人物和範疇；二是這類作品以陳映真和黃春明的創作最多且最受討論。本文就是以此為論述的基礎，前者讓我們發現集體想像物和刻板印象的生成，美國人的正面形象，恐怕不再只是台灣人的洋奴心態和美國對台的新殖民可以解釋完整。所以我要重新討論作者「看」的主觀位置是如何被建立，或者說作家們如何吞吐外來者所提供的社會性的感覺與思慮。在對應於當時的時代氛圍，我以為美國人形象投射出的是「脫貧」的庶民文化與知識分子的焦慮，此正服膺於現代主義和鄉土寫實的文學主流。因此，當我們進入陳映真和黃春明兩人的小說文本時，我們有了可以解釋關於作者主體認知的概念，甚至可以說美國人的形象製作主要是傳遞如何在政治戒嚴的時代展開對台灣文化主體的批判和反省。

關鍵字

美國人；形象；陳映真；黃春明

並列摘要

The focus of the Americans is often found in the literary work in 1960s and 1970s about the representation of exotic culture. Two dimensions worth further discussion. Firstly, most of writers show great concern towards America n soldiers, bars and prostitutes. Secondly, among the works in 1960s and 1970s, most are composed by Chen Ying-Zhen and Huang Chun-Ming; Chen's and Huang's works attract most attentions. Taking these two dimensions into account, this paper therefore aims to research the collective imagination and generated stereo types of the American, particularly about American soldiers, bar and prostitutes in those novels. The positive image representation of the American no longer could be explained comprehensively from the Taiwanese people's slavish mentality or new colonialism of America to Taiwan. Hence, I had to rethink how these novelists' subjective positions were established to observe such lives. We then might realize how the novelists absorbed the social reaction s and anxiety brought by the foreigner in Taiwan. People no longer considered the image of American being associated with the popular culture of gelling rid of poverty and anxiety of the intellectual when living in the political circumstance at that time. By doing so, such thoughts naturally became the literary mainstream of modernism and local realism in Taiwan. While we read through novel s of Chen and Huang, we were able to elaborate concepts of the novelists' subjective cognition. Moreover, we could understand that the creation of the image of the American mainly transmitted the idea of how people criticize and reflect the Taiwanese cultural subjectivity under the reign of political martial law.