摘要
作为日据时期殖民现代性的重要表征之一,“写真”这一意象在中国台湾作家的笔下经常具有或鲜明或隐微的重层内涵,为“写真”这一现代技艺赋予了超越视觉感官与艺术审美的意义增殖,尤其是拍摄双方透过照相机所构成的“我”/“他”之间的联系与分界,更隐喻着中国台湾地区与日本之间复杂纷乱的历史关联。本文即以日据时期中国台湾作家吕赫若的《玉兰花》、战后出生的第一代中国台湾作家施叔青的《风前尘埃》和80后在日中国台湾人作家温又柔的《被写体の幸福》这三部出自不同世代中国台湾作家之手的作品为中心,分析其中的“写真”意象及其寓意。
As one of the important features of colonial modernity in the Japan-occupied period,the image of xiezhen,or'authentic writing',often contains vivid or subtle multiple layers under the pen of the Taiwan residents,China writers,endowing the modern technique of xiezhen with a proliferation of meaning that transcends visual senses and artistic aesthetics;in particular,the connection and the demarcation of boundary formed between'T'and'him'by the cameras used by either side that is photographing are a metaphor for the complex and confusing historical connection between the Taiwan region of China and Japan.This article is based on The Yulan magnolia'by Lu Ho-jo,a Taiwan residents,China writer in the Japan-occupied period,Dust before the Wind by Shih Shu-ching,the first-generation Taiwan residents,China writer born after the war,and'Happiness of a Written Object'by Wen Yuju,a born-in-the-1980s Taiwan residents,China writer based in Japan,and,with these works from Taiwan residents,China writers of different generations,conducts an analysis of the image of xiezhen in them and its meaning.
出处
《华文文学》
2024年第4期50-59,共10页
Literatures in Chinese
关键词
写真
殖民现代性
吕赫若
施叔青
温又柔
Xiezhen
colonial modernity
Lu Ho-jo
Shih Shu-ch'ing
Wen Yuju
