相對於真杉靜枝過世後持正反極端評價書寫的傳記或傳記小說，真杉靜枝生前親身所執筆的自傳性小說則以不同角度，與將之型塑成「惡女」形象的傳記與評論成為對照性文本。真杉靜枝的文風帶有極強烈的「私小說」風格，特別是她與武者小路實篤以及中村地平之間的情事回顧，都成為她多部作品的題材，因而與真杉靜枝的「惡女」形象以及男女情事糾葛不斷的評價有極密切的關係。然而除了環繞與男性情事的「私小說」文本之外，真杉在生前也寫下回顧自己生平自傳性色彩濃烈的小說，其中最具代表性的自傳小說，可舉〈女兒〉（むすめ）（《新潮》，1940年5月）以及〈某個女人的生平〉（ある女の生立ち）（《新潮》，1953年5月）做為代表。〈女兒〉以及〈某個女人的生平〉分別發表於戰前與戰後，是觸及其台灣生活經驗的自傳小說。這二篇傳記小說發表的時間跨越戰前／戰後，當中經歷日本敗戰，台灣從隸屬日本帝國殖民地到脫離日本統治。也因此，真杉分別寫成於戰前／戰後的二篇自傳小說，其中觀點的轉折呈現了對照。本文試圖爬梳真杉靜枝兩篇自傳小說中自我形象的型塑與「殖民地台灣」記號的關係，同時探討這樣的「殖民地台灣」記號，如何反覆地出現於真杉靜枝的自傳小說中。 Previous studies on the formation of Masugi Shizue’s image focused mainly on her biographies, which were all published posthumously. However, Masugi’s autobiographical novels were in direct contrast to those biographies, biographical novels and criticisms which stressed that she was a “wicked woman.” Daughter and A Woman’s Life were autobiographical novels that were published from pre-war to post-war periods, and depicted her life experience in colonial Taiwan. Daughter mainly describes her reconciliation with her mother upon her return to her “home” in colonial Taiwan after running away for sixteen years. A Woman’s Life describes a woman named “Shizue”, Masugi’s real name too, as she looks back on her own love affairs, family matters, her “home” in colonial Taiwan, and the defeat of Japan. This novel mixes historical realities with her individual history. These two autobiographical novels also show colonial Taiwan under Japanese rule. This is where her parents’ home was located, and where Masugi spent her teenage years. This paper will examine the relationship between the formation of Masugi’s image and colonial Taiwan, as well as how colonial Taiwan became an icon related to her memory of her mother.
台灣文學學報, 22, 89-110 Bulletin of Taiwanese literature, 22, 89-110