Negaraku：旅台、馬共與盆栽境遇

Abstract

作為非中華文化區較具規模的華文文學，馬來西亞的華文文學一直持續地生存著，甚至略有「發展」。但其生存境遇其實沒有多大改善。這不僅是文學社會學的議題，也可說是文學政治學的議題。 本文擬延續本人過往的討論－關於語言上的種族與政治隔離，媒體的正反面作用等等－從馬華文化的盆栽境遇進而討論兩個晚近的跨語媒體個案（黃明志事件、《最後的馬共》事件）。這兩個個案都涉及馬來亞建國以來歷史的某個獨特面向，前者是旅台（50年代以來華裔學生大規模地留學台灣）及關連的政治文化背景，後者則是馬來亞共產黨的革命被邊緣化，終至被逐出檯面的歷史。本文著力提出，就時間而言，二者同時，恰為互換。而這互換也是冷戰政治的產物，既捲入中國國共之爭的海外延長賽，也捲入韓戰後美國的東亞布局，對紅潮的防堵。馬共的和平村，緊急狀態下的新村，旅台（小）知識社群，於焉互為隱喻。在這不同的脈絡下，大馬國歌Negaraku都成了反諷的哀歌。

Mahua Literature is the biggest literary field outside mainstream Chinese Literature. As a minor literature in Malaysia, it continues to survive, though with limited development. But its difficult circumstances remain due to the politics of literature in the country. Extending from my previous studies on racial and political discrimination on language in Malaysia, this paper attempts to examine the bonsai situation of the cultural production of Chinese Malaysian and focuses on two recent translinguistic media cases-Huang Mingzhi incidence, and the event of The Last Communist of Malaysia. Both cases concern the unique sides of Malaysian history after its independence. The former is the case of Chinese Malaysian students in Taiwan (since 1950 a large number of Malaysian Chinese students study abroad in Taiwan) and its relevant cultural-political background. The latter is the marginalization of the Communist in Malaysia and their expel from the history of Malaysia. This paper tries to point out that the retreat of the Communist in Malaysia and the study abroad of a large number of Chinese Malaysian students in Taiwan happened to take place in the same historical moment. Both were the consequence of the Cold War. Chinese Malaysians were forced to involve in the extended struggle of Kuomintang and Chinese Communist Party in overseas and the East-Asian policy of America after the Korea War. The Peace Village of Malaysian Communist after 1989, the Chinese New Village formed under the emergency, and the small intellectual community of Chinese Malaysian in Taiwan each becomes a metaphor of the other. Under these different contexts, the national anthem of Malaysia, the Negaraku, thus becomes an elegy.