Abstract The focal point of Nakajima Atsushi s representations of colonial hybridization in his literary texts changes from indigenization into civilization after his eight-month stay in Japanese-ruled Micronesia in -. His texts based on their source books which are set in pre-modern realms and deal with interracial cultural blending through invasion or migration, not only represent colonial hybridization but also themselves can be considered colonial hybridized representations. Without using such source material, his early works depict Japan s colonies to intervene in dominant colonialist discourses by rewriting interracial love plots, a powerful vehicle for justifying colonialist schemes and activities. This relatively direct anti-colonialist mode, however, should have been suspended under strict censorship. Before his stay in the South Sea Islands, Nakajima s texts employ allegory of interracial marriage. His protagonists (the civilized such as writer, poet, storyteller, etc.), that is, allegorized Japanese women, travel to preliterate realms (or marry indigenous men), and go native. Representing allegorically this pattern of interracial marriage (or rape) implies an attempt to dismantle colonialist men s fear and self-deceptive contradictions of assimilationism. After his return to Tokyo, Nakajima views himself as indigenized in his essay and creates his protagonists as the indigenized who, though subject to civilizations (like female Islanders married to male colonizers), are a menace to them (their Japanese husbands). His allegorically reworked interracial love tropes can be regarded as a postcolonial Pacific discourse, sympathizing with works by contemporary Pacific Island writers such as Albert Wendt. -
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