流變與流浪―論《山深情遙》中綢仔絲•萊渥的精神構圖與敘事風格

Transition and Vagrancy-An Analysis on the Spiritual Construct and the Narrative Style of Choutsaisi Lanwo in Profound Feelings, Deep Mountains

楊翠(Tsui Yang)

《中國現代文學》 16期 (2009/12) Pp. 147-192

https://doi.org/10.29980/MCL.200912.0008

摘要

對台灣原住民族而言，在歷史流變的過程中，長期的挫敗經驗，以及歷史解釋權的失落，身體／主體雖然不斷流動，卻並非自由遨遊，而是被政權流變推向族群流浪，成為無法跨界與逾越權力界線（限）的「流浪的非主體」。
原住民庶民女性綢仔絲•萊渥的生命史文本《山深情遙》，即是以個體女性的生命史，展現了族群流變與土地流浪的歷史經驗，以及面對殖民文化的強行植入，被殖民者如何形塑自我圖像。綢仔絲一生有過三個名字（泰雅姓名、日本姓名、中國姓名）、三任丈夫（泰雅、日本軍人、中國軍人）、與他們生了三個孩子，會使用四種語言（泰、日、中、閩），她的生命史文本，可做為閱看台灣原住民族歷史經驗與認同政治的一個切面。綢仔絲以素樸的「報恩觀」，雜揉女性情誼與男女情愛，稀釋並掩蓋了日本統治的「殖民性」，將其文化認同與「日本國民性」扣合，成為其精神構圖的主要圖像。
《山深情遙》的文本形構很複雜，手稿、口述、翻譯、導論、註釋、地圖，各種元素在多音交響、殖民再現之問，形成複雜的文本敘事。另一方面，綢仔絲的敘述風格彰顯出陰性特質，其生命史文本的結構呈顯無序、不均衡的特質，敘事焦點則是她與日本人的女性情誼，以及與日本丈夫大西之間的愛恨情仇，鮮少論及國族與政治，述及對日本的認同時，也多半訴諸情感連帶關係。其陰性敘述風格固然具有特色，另一方面，隱身卻存在的國家權力政治，在她的生命史文本中，卻以不在場的形式，顯出更強大的文化操控力。

關鍵字

歷史記憶 ； 國族置換 ； 文化認同 ； 多語複聲 ； 陰性敘述

並列摘要

For Taiwanese aborigines, their persistent failure and the lost of interpretive power in the historical development had rendered the meaning of their bodies/subjectivity fluid and flexible. Nevertheless, their bodies/ subjectivities were not granted the privilege of self-interpretation, and were subjugated into a state of ethnic vagrancy in the flow of power between political regimes, becoming the ”wandering non-subjectivities” constrained by rigid boundaries and marginalized to the border of power.
The text-Profound Feelings, Deep Mountain-records the life history of the female aborigine, Choutsaisi Laiwo. It is a work based on an individual woman's life history, presenting the ethnic transition and historical experience in nomadic years and the self-image constructed by the colonized under the imposing force of foreign culture. In her life, Choutsaisi had three names (Atayal name, Japanese name, and Chinese name), three husbands (Atayal, Japanese soldier, and Chinese soldier), had three children with different husbands, and had learned to speak for languages (Atayal, Japanese, Chinese, Taiwanese). Her life history can be viewed as an aspect and an epitome of historical experience and identity politics Taiwanese aborigines going through. Her simple and innocent view of ”paying a debt of gratitude” not only blends female friendship with heterosexual love, but also dilutes, masks the ”coloniality” of the Japanese rule. The text of hers fuses cultural identity with ”the Japanese national character,” embodying the main image of her spiritual construct.
The textual formation of Profound Feelings, Deep Mountain is complex. Interwoven elements of manual, oral narrative, translation, introduction, notes, and maps dialogize and resonate with each other. In the representation of colonization, a complicated textual formation was created. On the other hand, Choutsaisi's narrative style expresses feminine qualities: the textual structure of life story manifests unordered, heterogeneous characteristics-the focus of her narrative was on the female friendship between the Japanese and her, and on the entangled love and hate between her Japanese husband-Ohnishi. She rarely spoke of national identity and politics, and when she narrated her Japanese identity, she often resorted to emotional solidarity. Although her female narrative is unique, her life history reflects the puissant cultural control of the hidden but existing national power operating in absent yet omnipotent ways.

並列關鍵字

Historical memory ； national displacement ； cultural identity ； multilingual and diplophonia ； women's narratives