身在日營，心繫中國－試論楊逵劇作〈怒吼吧！中國〉

楊逵是日據時代家喻戶曉的抗日作家與行動家，然而卻因爲日據末期，應統治者的要求，而公開發表了〈「首陽」解除記〉及〈增產之背後－老丑角的故事〉這兩篇文章，而爲張恒豪教授的撰文質疑，認爲楊逵有屈從於日本高壓統治的嫌疑，而違反了自己一貫所堅持的反日意志。然而實情是否如此，筆者曾撰寫〈是皇民文學？還是抗議文學（三）－論楊逵日據時代的文學〉一文，透過深入這兩篇文章的內容去作分析，試圖爲楊逵辯誣。筆者認爲在這兩篇文章當中，楊逵不但沒有違背自己一貫的抗日主張，而且在文中，他還運用相當高明的寫作技巧，將反日的意志隱藏在字裡行間，並期待讀者去探究發掘。而楊逵的另一篇劇作〈怒吼吧！中國〉，亦是因應統治者的請求而創作發表，然而筆者亦認爲這篇劇作，也如上述的兩篇文章一樣，亦是運用「隱喻」的寫作技巧，將其反日主張包裝隱藏在劇情中，而終不違其抗日作家的英名。

關鍵字

楊逵；抗日作家；隱喻；街頭劇

並列摘要

Yang Kui is a well-known Japanese era Japanese writer and activist, but because the end of the Japanese, however, should be the ruler of the request, and published a ＜”first positive” lift the mind” and The yield of the back-the old clown ”The Story That Two articles, and to Professor Zhang Henghao the author doubts that Yang Kui has succumbed to the Japanese high-handed rule of the suspects, but has always insisted on their own in violation of anti-Japanese will. However, whether this is the truth, I had written 〈is the Imperial Literature? Protest literature, or (三)- the Japanese occupation of Yang Kui Literary〉 a text, through in-depth content of these two articles to be analyzed in an attempt to refute Yang Kui. I believe that in these two articles which, Yang Kuei not only failed to stand against his long-standing anti-Japanese, and in the text, he also very clever use of writing skills, the will of the anti-Japanese hidden in between the lines, and look forward to the reader to explore the excavations. While the other one plays Yang Kui 〈Shout! China〉 is also the ruler of the request in response to written and delivered, but I also think that this play, but also the same as the above two neither articles, nor is the use of ”metaphor” writing skills, anti-Japan claims its package hidden in the plot. The end, this does not violate the anti-Japanese writers' fame.

並列關鍵字

Japanese writer ； Yang Kui ； street theater ； metaphor

國際替代計量

身在日營，心繫中國－試論楊逵劇作〈怒吼吧！中國〉

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