烏爾利希．貝克「風險社會」論述下的日本原發文學書寫──對照多和田葉子與亞歷塞維奇有關核災創作

Ecriture of the Japanese nuclear power plant literature seen from the view point by Ulrich Beck's ＂risk society＂: Comparison between Yoko Tawada and Svetlana Alexievich on nuclear power plant literary creations

本論文援用烏爾利希‧貝克（Ulrich Beck）主張「風險社會」的論說（risk society theory 1986年）的概念，分析了同樣是以核災為主題創作之多和田葉子的《獻燈使》（2014）以及斯維拉娜‧亞歷塞維奇的《車諾比的悲鳴》（1997）兩部作品。經由兩者之分析對照之後，可以獲得以下確定的論點。多和田葉子所創的《獻燈使》提示的3 個思考方向。一為當人類遭逢到共業的大災難、自食其果時，有可能採取物種突變進化方式，躲過浩劫餘生。二為笑看嚴肅課題，認真思考對策。三為脫日課題，的確值得傾聽。而斯維拉娜‧亞歷塞維奇所創的《車諾比的悲鳴》中提示的3 個主題（阿富汗戰爭與輻射、家鄉與墳墓、上帝與祈禱），的確是反映出受到車諾比事件衝擊人們的如實心聲。兩者核災書寫的差異，除了可視為文化差異的反射之外，更能窺得日本含蓄表達憤怒、苦中作樂、宿命論中懷抱希望的原發文學書寫之一環。 This paper has carried out comparison consideration of Yoko Tawada's ＂Kentoshi＂(2014), and Svetlana Alexandrovna Alexievich's ＂Voices from Chernobyl: The Oral History of a Nuclear Disaster＂(1997) with the point of argument from risk society theory by Ulrich Beck. The following conclusions is able to be drawn as a result of this analysis. First, Yoko Tawada's work has described the possibility of the way out by the change of a gene. Next, this work is contemplating on the serious subject by laughing. Finally, this work tries to escape from Japan. On the other hand Alexievich's work is telling three points ;the Afghan War and radiation, a hometown and a grave and God and pray. As mentioned above, both works differ in the ecriture about a nuclear power plant. In the case of Japan, it is accepted as one of the features that a writer does not throw away hope, holding Japanese fatalism.