Pub Date : 2022-08-01DOI: 10.53106/181856492022080028003
蕭亦翔 蕭亦翔
"萬波教（マンナミ オシエ，1918年1月10日─1997年12月1日）畢業於臺北高等學校、臺北帝國大學文政學部，後任職於臺北第二師範學校等。在日治時期作為一位《四季》派抒情詩人活躍於臺灣文壇。在美術成就上，曾入選第一回臺灣總督府美術展覽會，並為多本期刊繪製封面與插圖，是位文學、藝術、教育三棲的文化人。引揚後，持續作為一位師長指導學生進行文藝創作，而後投入公務體制之中，跟隨相葉有流創作俳句。萬波教作為過往少被關注的在臺日人作家，其創作數量以及當時參與團體皆有一定代表性，因此本文欲以萬波教為討論中心，自萬波教的出生為起始，至晚年撰寫俳句獲得「有流賞」為終。以報紙、同人誌、學籍資料、名簿等第一手資料作為研究材料，詳盡梳理萬波教的生平、作品，以及其時代意義。 最後，本文不僅作為一篇作家研究，更期望將萬波教置於「在臺日人作家」、「臺灣─日本」引揚文學的脈絡之下。重新補足日治時期臺灣文學史上，少被審視的區塊，並且重新給予萬波教新的歷史定位以及評價。「酷兒未來」議題的機會。本文則藉著分析電影《大佛普拉斯》，試圖鼓勵臺灣研究介入這種未來主義的論述舞臺。片中庶民角色宛如本土歷史活化石「羅漢腳」，同時體現三種落差：中產異性戀男人與羅漢腳的情欲落差、國語使用者與臺語使用者之間的語言落差、手機使用者與科技邊緣人之間的數位落差。這些落差，未必意味這部片無法達到未來主義的預設標準，反而揭發所謂標準的侷限。這部片值得納入酷兒研究，並不是因為它是「酷兒電影」或「同志電影」，也不是因為羅漢腳等於同性戀者，而是因為它暴露出酷兒研究比較少關注的生命樣態：傾向社群（公）而不傾向個人主義（私）的羅漢腳。 MANNAMI OSHIE (萬波教，1918.1.10 - 1997.12.1) graduated from Taihoku High School and Taihoku Imperial University, and later worked at Taihoku Second Normal School. During the Japanese Colonial period, he was active in Taiwan Literature Field as a lyric poet of “SHIKI（四季）”. In terms of artistic achievements, he was selected for the first Taiwan Governor-General’s Art Exhibition to paint covers and illustrations for many periodicals. After returning Japan, he continued to guide students in literature and arts, joined the public service system, and followed Aiba Yuryu(相葉有流) to write Haiku(俳句). A Japanese writer in Taiwan receiving little attention in the past, MANNAMI OSHIE was representative because of his creations and participation at that time. This article focuses on the discussion of MANNAMI OSHIE, delineating his life journey from birth to the receiving of “youliu reward(有流賞) ”for writing haiku in his later years. This article employs first-hand materials including newspapers, doujinshi(同人誌), student registration materials, and name lists, trying to articulate MANNAMI OSHIE’s life and works. Finally, this article also aims to place MANNAMI OSHIE under the context of“Japanese writers in Taiwan”and “Taiwan-Japan”HIKIAGE literature(引揚文學), in hope to make up for the less examined areas in the history of Taiwanese literature during the Japanese colonial period and give MANNAMI OSHIE a new historical evaluation.
"万波教（マンナミオシエ，1918年1月10日─1997年12月1日）毕业于台北高等学校、台北帝国大学文政学部，后任职于台北第二师范学校等。在日治时期作为一位《四季》派抒情诗人活跃于台湾文坛。在美术成就上，曾入选第一回台湾总督府美术展览会，并为多本期刊绘制封面与插图，是位文学、艺术、教育三栖的文化人。引扬后，持续作为一位师长指导学生进行文艺创作，而后投入公务体制之中，跟随相叶有流创作俳句。万波教作为过往少被关注的在台日人作家，其创作数量以及当时参与团体皆有一定代表性，因此本文欲以万波教为讨论中心，自万波教的出生为起始，至晚年撰写俳句获得「有流赏」为终。以报纸、同人志、学籍资料、名簿等第一手资料作为研究材料，详尽梳理万波教的生平、作品，以及其时代意义。 最后，本文不仅作为一篇作家研究，更期望将万波教置于「在台日人作家」、「台湾─日本」引扬文学的脉络之下。重新补足日治时期台湾文学史上，少被审视的区块，并且重新给予万波教新的历史定位以及评价。「酷儿未来」议题的机会。本文则藉著分析电影《大佛普拉斯》，试图鼓励台湾研究介入这种未来主义的论述舞台。片中庶民角色宛如本土历史活化石「罗汉脚」，同时体现三种落差：中产异性恋男人与罗汉脚的情欲落差、国语使用者与台语使用者之间的语言落差、手机使用者与科技边缘人之间的数位落差。这些落差，未必意味这部片无法达到未来主义的预设标准，反而揭发所谓标准的局限。这部片值得纳入酷儿研究，并不是因为它是「酷儿电影」或「同志电影」，也不是因为罗汉脚等于同性恋者，而是因为它暴露出酷儿研究比较少关注的生命样态：倾向社群（公）而不倾向个人主义（私）的罗汉脚。 MANNAMI OSHIE (万波教，1918.1.10 - 1997.12.1) graduated from Taihoku High School and Taihoku Imperial University, and later worked at Taihoku Second Normal School. During the Japanese Colonial period, he was active in Taiwan Literature Field as a lyric poet of “SHIKI（四季）”. In terms of artistic achievements, he was selected for the first Taiwan Governor-General’s Art Exhibition to paint covers and illustrations for many periodicals. After returning Japan, he continued to guide students in literature and arts, joined the public service system, and followed Aiba Yuryu(相叶有流) to write Haiku(俳句). A Japanese writer in Taiwan receiving little attention in the past, MANNAMI OSHIE was representative because of his creations and participation at that time. This article focuses on the discussion of MANNAMI OSHIE, delineating his life journey from birth to the receiving of “youliu reward(有流赏) ”for writing haiku in his later years. This article employs first-hand materials including newspapers, doujinshi(同人志), student registration materials, and name lists, trying to articulate MANNAMI OSHIE’s life and works. Finally, this article also aims to place MANNAMI OSHIE under the context of“Japanese writers in Taiwan”and “Taiwan-Japan”HIKIAGE literature(引扬文学), in hope to make up for the less examined areas in the history of Taiwanese literature during the Japanese colonial period and give MANNAMI OSHIE a new historical evaluation.
{"title":"灣生作家的抒情詩畫──萬波教其人、作品以及時代酷兒華語語系未來主義","authors":"蕭亦翔 蕭亦翔","doi":"10.53106/181856492022080028003","DOIUrl":"https://doi.org/10.53106/181856492022080028003","url":null,"abstract":"\u0000 \"萬波教（マンナミ オシエ，1918年1月10日─1997年12月1日）畢業於臺北高等學校、臺北帝國大學文政學部，後任職於臺北第二師範學校等。在日治時期作為一位《四季》派抒情詩人活躍於臺灣文壇。在美術成就上，曾入選第一回臺灣總督府美術展覽會，並為多本期刊繪製封面與插圖，是位文學、藝術、教育三棲的文化人。引揚後，持續作為一位師長指導學生進行文藝創作，而後投入公務體制之中，跟隨相葉有流創作俳句。萬波教作為過往少被關注的在臺日人作家，其創作數量以及當時參與團體皆有一定代表性，因此本文欲以萬波教為討論中心，自萬波教的出生為起始，至晚年撰寫俳句獲得「有流賞」為終。以報紙、同人誌、學籍資料、名簿等第一手資料作為研究材料，詳盡梳理萬波教的生平、作品，以及其時代意義。 最後，本文不僅作為一篇作家研究，更期望將萬波教置於「在臺日人作家」、「臺灣─日本」引揚文學的脈絡之下。重新補足日治時期臺灣文學史上，少被審視的區塊，並且重新給予萬波教新的歷史定位以及評價。「酷兒未來」議題的機會。本文則藉著分析電影《大佛普拉斯》，試圖鼓勵臺灣研究介入這種未來主義的論述舞臺。片中庶民角色宛如本土歷史活化石「羅漢腳」，同時體現三種落差：中產異性戀男人與羅漢腳的情欲落差、國語使用者與臺語使用者之間的語言落差、手機使用者與科技邊緣人之間的數位落差。這些落差，未必意味這部片無法達到未來主義的預設標準，反而揭發所謂標準的侷限。這部片值得納入酷兒研究，並不是因為它是「酷兒電影」或「同志電影」，也不是因為羅漢腳等於同性戀者，而是因為它暴露出酷兒研究比較少關注的生命樣態：傾向社群（公）而不傾向個人主義（私）的羅漢腳。\u0000 MANNAMI OSHIE (萬波教，1918.1.10 - 1997.12.1) graduated from Taihoku High School and Taihoku Imperial University, and later worked at Taihoku Second Normal School. During the Japanese Colonial period, he was active in Taiwan Literature Field as a lyric poet of “SHIKI（四季）”. In terms of artistic achievements, he was selected for the first Taiwan Governor-General’s Art Exhibition to paint covers and illustrations for many periodicals. After returning Japan, he continued to guide students in literature and arts, joined the public service system, and followed Aiba Yuryu(相葉有流) to write Haiku(俳句). A Japanese writer in Taiwan receiving little attention in the past, MANNAMI OSHIE was representative because of his creations and participation at that time. This article focuses on the discussion of MANNAMI OSHIE, delineating his life journey from birth to the receiving of “youliu reward(有流賞) ”for writing haiku in his later years. This article employs first-hand materials including newspapers, doujinshi(同人誌), student registration materials, and name lists, trying to articulate MANNAMI OSHIE’s life and works. Finally, this article also aims to place MANNAMI OSHIE under the context of“Japanese writers in Taiwan”and “Taiwan-Japan”HIKIAGE literature(引揚文學), in hope to make up for the less examined areas in the history of Taiwanese literature during the Japanese colonial period and give MANNAMI OSHIE a new historical evaluation.\u0000 \u0000","PeriodicalId":31271,"journal":{"name":"Tai Wan Jiao Yu She Hui Xue Yan Jiu","volume":"72 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78188104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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