本文關注台灣文學中慰安婦題材之創作樣態，以陳千武的「獵女犯」、「輸送船」，李永平的「望鄉」和張英珉的『櫻』為分析標的，探索這些文本如何突破樣板化敘事以召喚不同的慰安婦想像，呈現主體多元樣貌。三位作者雖有不同的核心關懷，卻從不同角度揭示了慰安婦身上同時承受了帝國主義、父權傳統、社會階級等多重暴力的剝削鉗制，對慰安婦在不同歷史階段的創傷傷痕有多層次的呈現。這些慰安婦想象呈現跨界、跨人種的特徵，具有將該記憶擴展成全球記憶的潛能。更重要的是，部分作品讓處於絕對孤立狀態的創傷主體連結，從而相互認同接納，是一種書寫療癒的嘗試。
The history of the Japanese army’s exploitation of comfort women during World War II differs greatly from other history of violence in that it was transnational, transracial, and perpetual. The history had been silenced due to the aftermath of the Cold War, authoritarian governance, and the social stigmatizing by the patriarchal society. It was from the 90s that the history became a global agenda when Korean comfort women publicized their experiences of the abuse by the Japanese army. However, the Japanese army is in denial of their brutality, and many victims have deceased. Therefore, it remains as a crucial task of our generation to convert the history of comfort women into collective memory. Taiwan is suffering from a similar history of their comfort women, and the development of the Taiwanese literary narrative of the victims may inspire the Korean society. This paper explores four Taiwanese literature on comfort women- Chen Qian Wu’s ｢輸送船｣ and ｢獵女犯｣, Lee Yung Ping’s ｢望鄉｣, and Chang Ying Min’s 『櫻』- and illustrates the meaning of the evolution of the narratives regarding the Taiwanese society’s ideology. These novels depict the trauma of comfort women as the result of a combination of numerous oppressions including imperialism, patriarchy, and social classification. Furthermore, these novels describe the trauma of comfort women from multiple angles and in detail.
1. 前言
2. 作家·文本·創作語境與動機
3. 認同·懺悔·成長：男性自敘書寫下的慰安婦
4. 彌補歷史的缺口：張英珉的慰安婦歷史全景書寫
5. 結論