歐大旭的《和諧絲莊》(2005)、羅惠賢的《斷語》(2004)與陳團英的《雨之賜》(2007)由太平洋戰爭期間日本佔領馬來亞與新加坡的那一段創傷歷史所聯結。作為戰爭記憶之書，這三本小說各以不同記憶框架為敘事主軸，如後記憶、文化記憶與倫理記憶。在這些記憶文本中，猜疑與背叛成為顯著的主題。小說家也透過書寫戰爭思考以下課題──人在戰時如何面對異己、身為後記憶世代者如何「再記憶」歷史的創傷經驗。此外，將這三本小說並置在戰爭記憶的框架下閱讀，可以拼湊出更大的歷史敘事，亦即透過離散星馬英文文學去回顧一段被壓抑的馬來亞歷史。
論文第一章析論歐大旭的《和諧絲莊》，指出小說藉由角色安排來檢視馬來西亞華人由於移民歷史烙印而始終被視為外來者的意識形態如何運作。小說敘事奠基在子尋父的原型結構上，突顯了在文獻檔案充斥的年代，歷史再現的可能與不可能。本章亦將由華文馬共書寫在新千禧年後興起的現象來思考《和諧絲莊》作為馬共書寫的意義。第二章將從文化記憶與暴力的角度分析羅惠賢的《斷語》。戰爭無疑是殘酷的，因此以戰爭時期為背景的小說不可避免地描述創傷與暴力。與其他兩位作家不同的是，羅惠賢側重描寫日軍施虐與受苦的身體等細節。本章將分別以事件暴力與隱諱暴力來討論小說中的暴力。第三章則將陳團英的《雨之賜》作為《斷語》的對照面來思考人如何在戰時對待敵人的課題。雖然在《雨之賜》中仍可見日軍殘暴行為的描述，但相較於羅惠賢，陳團英對此著墨不深。陳團英筆下的日本主角不是殘酷的殺人犯，而是英華混血的主人翁的良師益友；兩人發展出深厚的情誼。如此情節顯然違背了華裔馬來(西)亞人對於日軍佔領所帶來巨大創傷的集體記憶。陳團英在小說中挑戰了戰爭中我方他方與善惡的聯結。透過阮清越的越戰記憶論述、德希達的悅納異己理論與南地的親密敵人概念來探討戰爭中的自我與他者關係。

Tash Aw’s The Harmony Silk Factory (2005), Vyvyane Loh’s Breaking the Tongue (2004) and Tan Twan Eng’s The Gift of Rain (2007) share the theme of Malaya and Singapore’s traumatic history of the Japanese Occupation. The three novels tell stories of war memories, through which other types of memory, such as postmemory, cultural memory and ethical memory, sustain the narratives. Underneath these war memories are the novelists’ reflection on distrust and betrayal that not only allude to how people react to the other during wartime, but also illustrate how the generation of postmemory remembers the traumatic Pacific War. Put under the context of war memories, the three novels exemplify diasporic Anglophone Malaysian and Singaporean novelists’ literary access to the repressed history of Malaya, including the history of the Malayan Communist Party.
The first chapter deals with Aw’s The Harmony Silk Factory, together with a brief retrospection of the history of the MCP and clarification on the status of the Chinese Malay(si)an as outsiders since the heyday of the MCP and Japanese Occupation. Based on the archetypal structure of a son’s retracing the history of his father, this novel brings to light the im/possibility of the representation of history in an age filled with archives. I also regard this novel as Aw’s participation in the revival of the “communist writing” (Magong shuxie) after the publication of a series of related Sinophone novels in the early 2000s. In Chapter Two, I will discuss Loh’s Breaking the Tongue through the lens of cultural memory and violence. Wars are undoubtedly brutal, so the description of trauma and violence cannot be avoided when Loh writes a novel set in warfare. However, Loh is different from the other two authors by accentuating the details of torture and pain. The violence represented in this novel will be elaborated from the perspective of overt violence and insidious violence. Furthermore, Tan Twan Eng’s The Gift of Rain, examined in Chapter Three, will be read as a counter example to Loh’s novel in the previous chapter. The atrocities committed by the Japanese army are still depicted in Tan’s novel, but to a much less extent than that in Loh’s novel. The main Japanese character is characterized not as a cruel murderer but as the mentor to the young half-English and half-Chinese protagonist. An intimate relationship is established between the Japanese diplomatic official and the protagonist. Such representation of war memory seems to betray the collective memory of Chinese Malayans. Tan in this novel challenges the connection between one’s side to the good, and the other’s side to the evil. The complex relationship between self and the other in war will be tackled in the light of Viet Thanh Nguyen’s elaborations on a doubled ethical memory, Jacques Derrida’s insights on the foreigner question, and Ashis Nandy’s idea of the intimate enemy.

論文審定書 ………………………………………………………………………….........i
Acknowledgements………………………………………………………………..........iii
摘要…………………………………………………………………………………..........v
Abstract…………………………………………………………………………….........vii
Introduction
I. Motivation and Background…………………………………………………............1
II. Literature Review……………………………...………………………………..........7
III. Theoretical Framework…………………………………………………….............28
IV. Dissertation Structure………………………………………………………..........34
Chapter 1. Representation of Memory in Tash Aw’s The Harmony Silk Factory
I. The Malayan Communist Party as an Imagined Community………………......41
II. War Memories and Representation of History……………………………….......46
III. Postmemory…………………………………………………………………..........79
IV. Magong shuxie, Shuxie Magong, Diasporic Chinese……………………........88
V. Conclusion…………………………………………………………………...........94
Chapter 2. Representation of Violence in Vyvyane Loh’s Breaking the Tongue
I. Introduction…………………………………………………………………............97
II. Cultural Memory……………………………………………………………..........102
III. Representation of Violence………………………………………………..........106
IV. National Identity of Singapore………………………….……..………….........138
V. Conclusion………………………………………………………………….........144
Chapter 3. Intimate Enemy in Tan Twan Eng’s The Gift of Rain
I. Introduction…………………………………………………………………..........149
II. Ethical Memory…………………………………………………………..….........154
III. Representation of the Other…………………………………………...…..........166
IV. Intimate Enemy………………………….…………………………………........174
V. Conclusion………………………………………………………………….........180
Conclusion………………………………………………………………………........183
Works Cited………………………………………………………………………......191

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