台灣本土詩人語言選擇研究

Abstract

自1930年代台灣話文運動期間，經賴和、黃石輝、郭秋生等，書寫主張「我筆寫我口」實踐，台灣文學界普遍認為楊華的〈女工悲曲〉是當時最早完成整首的台語詩（陳鎮卿，1994），但近年來在李勤岸教授主持下的「白話字文獻館」出版台南「府城教會報」中整理出，以白話字書寫台語詩即有自日治前的1885年白話字新體詩至少在1885年即已出現，可以證明當時各文類的白話文書寫，承襲自西方現代文學形式，距離1930年代的台灣話文運動的台語書寫，提前了幾近50年，李勤岸教授稱其為「台灣文學的早春」（2009），這裡面也帶出「跨越語言」的問題，台灣本土作家的「跨越語言」，其實是語言選擇的嚴肅課題，說穿了只是第一個殖民語跨到另一個殖民語的書寫模式，但是這樣的選擇是否牽涉國族認同轉向的議題，實值得深入研究，而就廖瑞銘教授聲稱「從清領、日治貫穿國民政府時期，台灣本土作家書寫文類，如七字仔、台灣歌謠、胡撇仔戲劇本，白話字新體詩，白話字散文小說等的創作，都沒有「跨越語言」的問題，只有選擇殖民語書寫者，才有跨越語言的問題」（2010台語詩行台中場開場致辭）而跨越語言又牽涉了「語言轉向」的課題，這是台灣研究後殖民理論，書寫語言的形式，所謂既定但終究必須嚴肅面對的課題，基此，台灣文學史的定義，也將會徹底翻轉。 本論文主要探討本土詩人如何選擇他們的書寫語言，如何建構他們的語言觀，並以後殖民的思考呈現其不同思惟下的書寫策略，藉以建立母語文學的主體性，擺脫長久以來處於殖民情境下的邊緣地位。也惟有將具有殖民性格的稱謂「國語」改為「華語」，使其與台灣本土語言並置於相同位階，因為有「國語」之名，就是對本土語言的壓迫，就是行使語言文化的霸權，表示台灣人仍處於殖民情境。再者將母語文學正名為台灣文學，才能從根本上超越華語體制的壓迫與制約。Since the movement of Taiwanese-language in the 1930s, after the advocation of "my pen speaks for my mouth" practice by He Lai, Shi-Hui Huang and Qiu-Sheng Guo, the "Threnody of Female Workers" written by Hua Yang was generally considered by the Taiwan literature circle the first complete Taiwanese-languag poetry. However, it was organized and revealed by the "Fucheng Church Newspaper" published by "Pe̍h-uē-jī (textized Taiwanese-language) Documentary Museum" which is leaded by Professor Chin-An Li that the Taiwanese-language poetries written in Pe̍h-uē-jī appeared early in 1885 prior to the Japanese rural era, which means the Pe̍h-uē-jī vernacular poetries had emerged at no later than 1885. This fact proved that the genres of vernacular writing back then inherited from Western modern literary forms, and the time was pushed backward more than 50 years prior to the writing of Taiwanese-language movement in the 1930s. Professor Chin-An Li named it the "early spring of Taiwan literature".

This also brought out the issue of "linguistic turn". The "linguistic turn" for Taiwan native writers is actually a serious issue involving language choices, in a word, the conversion of writing modes from a colonial language to another. Nevertheless, it's worth of further research to discuss whether this kind of choices involves the issue of national/racial identity shifting. "From the Qing and Japanese rural era to the Nationalist Government (R.O.C.), the literary genres written by Taiwanese native writers, such as works of 7-words, Taiwan folk songs, Taiwanese opera scripts, Pe̍h-uē-jī vernacular poetries, and Pe̍h-uē-jī vernacular prose novels, involved no issue of 'language overstriding'. Only writers choosing between colonial languages were the ones facing the language overstriding issue." claimed Professor Rui-Ming Liao. Yet the language overstriding also involves the subject of "language shifting", which is the post-colonial theory in the Taiwan study, the form of writing language, and so-called "fixed" subject that must be taken seriously. Therefore, the definition of Taiwanese literature history would be repositioned completely as well.

This paper is mainly to make investigation on Taiwanese Poets, as how they will choose their writing language, and how they will construct their language viewpoints, moreover, by way of post-colonial thinking, to present their writing strategies under different thoughts, in order to establish the entirety of mother-tongue language literature, to get rid of their margin positions long situated under the colonial circumstances. In addition, only by altering the name of “Mandarin or official language” which is possessed colonial character to “Chinese language”, enabling Mandarin to be positioned on the same level amongst the local languages of Taiwan, in other word, the name of “official language” is itself an oppression on our local languages, to exercise the supremacy on language culture, showing that Taiwanese people are still situated themselves in a colonial circumstance. Furthermore, to make rectification of the mother-tongue literature into Taiwanese literature, only by doing so, to essentially able to transcend over the oppression and constrain of Chinese language system.