政大機構典藏-National Chengchi University Institutional Repository(NCCUR):Item 140.119/153041
English  |  正體中文  |  简体中文  |  Post-Print筆數 : 27 |  Items with full text/Total items : 113485/144472 (79%)
Visitors : 51390948      Online Users : 728
RC Version 6.0 © Powered By DSPACE, MIT. Enhanced by NTU Library IR team.
Scope Tips:
  • please add "double quotation mark" for query phrases to get precise results
  • please goto advance search for comprehansive author search
    •  Adv. Search
    Home ‧ Login ‧ Upload ‧ Help ‧ About ‧ Administer Goto mobile version


    Please use this identifier to cite or link to this item: https://nccur.lib.nccu.edu.tw/handle/140.119/153041


    Title: 鄉土的「發現」︰日治時期台灣知識分子對於歌仔戲態度的轉變
    The Discovery of Nativist Literature: The Transformation of Taiwan Intellectuals’ Opinions towards Gua-á-hì during the Japanese Ruling Period
    Authors: 白春燕;呂政冠
    Pai, Chun-Yen;Lu, Cheng-Kuan
    Contributors: 臺灣文學學報
    Keywords: 歌仔戲;鄉土文學;知識分子;文化焦慮
    Gua-á-hì;Nativist literature;intellectuals;cultural anxiety
    Date: 2024-06
    Issue Date: 2024-08-19 12:00:24 (UTC+8)
    Abstract: 在日治時期的台灣，歌仔戲於二○年代快速發展，在商業劇場中取得空前成功，成為廣受庶民、尤其是婦女喜愛的舊劇。然而，歌仔戲卻被新舊知識分子視為「淫戲」，不論是新知識分子還是舊知識分子，官方還是民間，皆一致反對並議禁歌仔戲。徐亞湘在《日治時期臺灣戲曲史論》中指出，新知識分子表現出對「遲到的現代性」的焦慮意識，而舊知識分子則反映了維護社會風教的父權心態。至於歌仔戲被視為「淫戲」，主要是由於從業人員的表演詮釋所致，其原因可以追溯至「階級的差距」。這種差距導致掌握話語權的知識分子對歌仔戲界的不認同，從而造成知識階級與庶民階級之間的斷裂和對立。不過，知識分子對歌仔戲的態度在不同時期有所變化，在三○年代他們開始有條件地接受歌仔戲。本文關注知識分子對於歌仔戲態度的轉變，試圖從鄉土文學興起的背景來解釋知識分子對歌仔戲從反對到接受的過程。本文指出，知識分子對於歌仔戲的接受起因於對鄉土的「發現」。由於同化政策的滲透，知識分子產生了文化焦慮，開始「發現」鄉土。在鄉土文學觀點的啟發下，他們將視角轉向「民」，並改變了對「俗」的評論角度，逐漸調整對於台灣本土劇種歌仔戲的判斷與介入的方式，最終將歌仔戲納入他們認可的鄉土藝術範疇之內。
    During the Japanese ruling period in Taiwan, Gua-á-hì (Taiwanese opera) experienced rapid development in the 1920s, becoming widely popular among the folks, particularly women in commercial theater. However, Taiwan intellectuals and the colonial government regarded Gua-á-hì as an obscene drama, and proposed banning it. The theater scholar, Hsu Ya-Hsiang, in The history of Taiwan’s Classical Theatre During the Colonial Period argues that new intellectuals exhibited an anxiety related to “belated modernity”, while the traditional intellectuals reflected the patriarchal mentality to maintain social morality in the discussion of banning Gua-áhì. The labeling of Gua-á-hì as “obscene” was primarily due to the interpretative performances of its practitioners, a perception that can be traced back to “class difference.” This divide led intellectuals, who wielded significant influence over cultural discourse, to reject the Gua-á-hì milieu, resulting in a rift and antagonism between the intellectual elite and the common populace. However, the intellectuals’ opinions toward Gua-á-hì evolved over different periods, and by the 1930s, they began to accept it conditionally. This paper examines the transformation in intellectuals’ perspectives on Gua-á-hì, attempting to explain the process of opposition to acceptance within the context of the rise of nativist literature. And we thought that the intellectuals’ acceptance of Taiwanese opera originated from their “discovery” of nativist literature. As assimilation policies permeated society, intellectuals developed cultural anxiety and began to “discover” their native heritage. Influenced by the principles of nativist literature, they shifted their focus to the “people” and revised their critique of the “folklore,” gradually adjusting their judgment and approach to Gua-á-hì. Ultimately, they integrated Gua-á-hì into the realm of native art that they acknowledged.
    Relation: 臺灣文學學報, 44, 123-147
    Data Type: article
    DOI link: https://doi.org/10.30381/BTL.202406_(44).0005
    DOI: 10.30381/BTL.202406_(44).0005
    Appears in Collections:[Bulletin of Taiwanese Literature] Journal Articles

    Files in This Item:

    File Description SizeFormat
    44-5.pdf2638KbAdobe PDF1View/Open


    All items in 政大典藏 are protected by copyright, with all rights reserved.


    社群 sharing

    著作權政策宣告 Copyright Announcement
    1.本網站之數位內容為國立政治大學所收錄之機構典藏，無償提供學術研究與公眾教育等公益性使用，惟仍請適度，合理使用本網站之內容，以尊重著作權人之權益。商業上之利用，則請先取得著作權人之授權。
    The digital content of this website is part of National Chengchi University Institutional Repository. It provides free access to academic research and public education for non-commercial use. Please utilize it in a proper and reasonable manner and respect the rights of copyright owners. For commercial use, please obtain authorization from the copyright owner in advance.

    2.本網站之製作，已盡力防止侵害著作權人之權益，如仍發現本網站之數位內容有侵害著作權人權益情事者，請權利人通知本網站維護人員(nccur@nccu.edu.tw)，維護人員將立即採取移除該數位著作等補救措施。
    NCCU Institutional Repository is made to protect the interests of copyright owners. If you believe that any material on the website infringes copyright, please contact our staff(nccur@nccu.edu.tw). We will remove the work from the repository and investigate your claim.
    DSpace Software Copyright © 2002-2004  MIT &  Hewlett-Packard  /   Enhanced by   NTU Library IR team Copyright ©   - Feedback