甘耀明《殺鬼》中的台灣原住民神話研究

Abstract

本論文研究甘耀明長篇小說《殺鬼》中的台灣原住民神話，援用兩種研究法：1. 歷史人類學研究法：實地踏查後龍溪蜿蜒流佈的苗栗市、公館鄉、西湖鄉、銅鑼鎮、三義鄉等客家鄉鎮之宗教、人文、水域流向、山脈座落，並研讀相關地方志與詩社文獻。2. 文本分析法：以質性研究的方式，研讀甘耀明《殺鬼》，側重台灣原住民神話之運用技巧與詮釋策略。我將甘耀明列入苗栗客家詩人與作家之系譜，以「抗日」主題連繫，自成台灣文學中客家族群血脈相傳般之範疇。此處所指苗栗地區的文人墨客，有從地域研究認識的作家：吳湯興、吳頌賢、吳濁流；也有從小說作品認識的作家：李喬與甘耀明。 其次，本論文羅列《殺鬼》主人翁帕的三個身份認同，重構日治時期台灣人主體的過程，而日本統治之時代背景，乃構成本論文苗栗抵抗文學客家作家系譜之要素。帕的三個身份，分別是台灣少國民(鹿野千拔)，台灣原住民巨人(哈陸斯)，台灣原住民獵人(帕)，論文中將逐步探討《殺鬼》以這三個原型建構日治時期台灣人主體的共通性與一致性。特別值得說明的地方，乃是巨人(哈陸斯)、 獵人(帕)的人物原型部分，本文引用眾多原住民文獻加以論證，發現甘耀明詮釋台灣主體性的策略，是把重心放在原住民的核心神話，以其與客家、日本軍國主義互動，產生跨文化的視野，其敘事技巧刻意採用童話筆法，鋪陳魔幻現實主義的效果。 再者，《殺鬼》異於前述客籍作家作品之特色，正是應用拉美魔幻現實主義本土化的精神，挪用台灣原住民巨人哈陸斯大男根、洪水兩神話，以當代小說家的眼光，重新闡釋台灣原住民之傳統神話，用童真、戲謔、誇張、自由聯想的筆法，富有創意的文學想像，以便建構九○年代後現代文學作家的台灣史觀，翻轉台灣文學傳統敘事之「悲情」概念，提供另外一條富有救贖意義的創作途徑。 《殺鬼》把意涵「日本精神」和「台灣精神」的「台灣少國民帕」，折疊在有國族、文化認同、新鄉土議題複雜的文字中，本論文為讀者剝開文字背後被賦與的多重折疊的原住民文化的象徵，期望讀者在理解在小說發展的過程中，體認帕乃是一個安頓生命者，卻在閱讀過程享受作家文字魔力散播的快樂。 本論文的侷限在於詮釋原住民神話所採用的角度，亦即認同作家甘耀明的漢人觀點，把原住民神話「淨化」了，凸顯這本小說的傳播對象並非以具有傳統文化思維的原住民為主體。

This these discusses Gan Yaoming’s Ghost Slayer with the focus on the writer’s frequent uses of Taiwanese Aboriginal myths. I argue that this particular literary strategy of Gan’s is derived from two facts: (1) the writer’s homeland is in Miaoli where there has been a long history of the interaction between the Aboriginals and the Hans; (2) there is a literary genealogy in Miaoli describing stories of anti-Japanese colonialism. The long novel features a Taiwanese aboriginal teenager Pa (short form for Pa-pak-Wa-qa) to represent Taiwanese during and after the Japanese colonial time (1895-1947). Unlike most historical novels of this period, Ghost Slayer tells Pa’s story in the style of magic realism rather than socialist realism, and thus making the story more approachable to contemporary young readers. Although Pa has blended many cultural heritages, Gan Yaoming has only emphasized three of his identities: young Japanese national in Taiwan（しょうこくみん）, Giant Halus, and the hunter. Each of the identities has numerous allusions to myths, especially those related to Taiwanese aboriginals. My job in the thesis is mainly to interpret Japanese colonial education and the allusions to aboriginal myths. It is hoped that this effort will contribute to a deeper appreciation of the novel as aboriginal myths in Taiwan have not been introduced enough. This lack of aboriginal knowledge has often led to a superficial support of Taiwanese autonomy from the immigrants’ idiosyncratic understanding of Taiwan history. My other argument is on Gan’s writing style, often described as magic realism. I argue that his strategy has achieved a different interpretation of the historical meaning of Japanese colonization. Instead of pathos, Gan’s novel is full of teenager energy, leading us to the wonder of primitive worldviews and expectations of Taiwanese aboriginals. The limit of this thesis is my interpretation, which has to rely on the writer’s perspective, which “purges” the aboriginal myths. In other words, Gan did not target aboriginals to be his readers when he wrote this historical novel.