生態文學論述中與故鄉的溝通──以探討石牟禮道子《苦海淨土》為主

A Conversation in Nature Writing with Hometown: Concerning Ishimure Noriko 'Kukaijodo'

生態文學論述中，特別注重對「場域的感覺」。照常理而言，人對於出生第一個接觸的場域，大多以「故鄉」相稱，抱以特殊的情感吧！311之後鑑於前瞻與回顧同等重要，於是曾經以日本著名現代作家水上勉（1919-2004）所撰寫的《故鄉》（1987年起2年間連載，1997年發行單行本）為對象，考察故鄉（本州福井縣）的小漁村中廣建文明產物的核能發電廠，而產出「場所」（place）、「空間」（space）、「容身之地」等三種不同層次的故鄉涵義，從中刻劃出與故鄉真摯的對話、溝通。同時也注意到之前1969年，石牟禮道子以故鄉水俁市（九州熊本縣）的小漁村慘受有機汞中毒汙染為題材，撰寫的《苦海淨土》。現階段僅針對水俁病社會運動之前的純淨狀態下描繪出的第一部「苦海淨土」做了文本分析之後，發現石牟禮道子並未特意對故鄉區隔出如同「場所」（place）、「空間」（space）、「容身之地」等的層次感。但淡淡的筆調中呵護著故鄉之情，是可以肯定的。而當書寫故鄉情的同時，出現與視為萬惡之首的近代，形成拉扯的局面。以及論點出現自相衝突矛盾之處。更遑論無法斬釘截鐵地論斷近代的弊端。其主要原因在於人性對於根本起源的故鄉的羈絆，因為有了羈絆而無法理性面對的宿命。不過到了後半段逐漸有所改觀，甚至可以說化故鄉情的羈絆為力量，才能心無旁鶩地全力展開批判近代。透過與故鄉情的溝通，第一部「苦海淨土」才得以遨遊萬物之上，成為將精靈信仰具體化的起跑點。無意推翻岩岡中正所主張，石牟禮道子基本上是一位文明批判者、反近代思想家的此論點。只是透過本次以生態文學論述中與故鄉的溝通為題，來探討石牟禮道子《苦海淨土》之後，更清楚發現一位文明批判者、反近代思想家、成熟作家石牟禮道子背後的歷練，還是經歷過牽掛的故鄉情與近代的拉扯之不可或缺的溝通過程。而自我矛盾，時而論點衝突的跌撞跌撞的溝通之後的故鄉課題，越見清晰，立場更加明確、堅定。 In the nature writing, ＂Sense of the place＂is attached to importance. The place that was born of man and touched first is special ＂Hometown＂. For post 311 to look back on the past now is to take the future in advance. 'Hometown' of writer Minakami Tsutomu (1919-2004) in Japan looked straight at putting up a lot of nuclear plants that were the artifacts in a small fishing village in hometown Fukui Prefecture. He drew the hometown by three topologys of ＂Place＂(place), ＂Space＂(space), and ＂Whereabouts＂, and drew each meaning of the hometown. Ishimure Michiko announced 'Kukaijodo' to pay attention to the current state of the fishing village in Minamata City (Kumamoto Prefecture) in the violated hometown by Minamata disease in 1969. This thesis has considered the first part in 'Kukaijodo' that was written in pure feelings to the hometown. As a result, she does not distinguish the hometown by the topology of ＂Place＂(place), ＂Space＂(space), and ＂Whereabouts＂, and be nothing but indifferently talking about the attachment to the hometown. However, the narrator's failure was exposed, and her modern criticism has not succeeded in the relation to modern ages considered to be a root of evil. But she has developed a modern criticism by the affection to the hometown in the latter half of the work, and was able to have them make the first part in 'Kukaijodo' her starting point of the animism. The conversation to a hometown that had been done by Ishimure Michiko in sincerity has clarified the position of the civilization critic and the anti-modern thought person who exceeded the barrenness of dichotomy.