抵抗的形態：論久生十蘭的《母子圖》

Means of Resistance: Hisao Juran's Boshizo

久生十蘭是一位複雜幻化多端卻富內涵的作家，他的作品經常自由自在地遊走各種題旨和技巧之間。《母子圖》是他的代表作之一，故此這部作品也內含許多手法高妙難以概念化的技巧。縱使具有如此鮮明的特色，以往有關久生十蘭的評論，大多停留在標示他是一位小說魔術師，對於他的作品的精神和深度研究仍然十分缺乏。本篇論文企求以嶄新的觀點研析作品，不侷限在分析例舉久生十蘭的創作技巧，更聚焦在探究其代表作《母子圖》所蘊含特殊訊息與線索。尤其著重在探究主角和泉太郎的戰爭記憶之再現，亦即經過沉澱後的印象，加上主觀意識和感受的重行表達，融合了文化記憶和倫理思維制約的敘述。在故事裡，和泉太郎在精神發育上尚未成熟，卻經歷目睹了戰場上的暴力、殺戮等殘酷行為，其心靈的創傷在停戰後，和泉太郎並未能在精神上重獲得自由。在大角度上，本篇論文從戰爭記憶的傷痕之再現著墨，把戰爭記憶所及的生與死，透過主角的複雜感受點出幻化其實是多元、多層次的文化和倫理思維的反射。

Hisao Juran is a complicated and fantastic writer though rich in contents and implications. His writings often traverse freely among various topics and techniques. Boshizo is one such representative works. In this novel, there are many skillful techniques that are hard to conceptualize. Most previous studies on Hisao Juran, however, routinely treat him as a magician of novels. This paper aims to apply a brand-new standpoint to deal with Hisao Juran's creative techniques in Boshizo. There will be particular attention to the re-presentation of Izumi Taro's memories of war focusing on the rhetoric of impressions and the persona's subjective consciousness and feelings in light of cultural memories and the narration of ethical thinking. Taro not being spiritually matured, nevertheless, has experienced and witnessed violence. His psychic trauma, even after the war, does not give him spiritual freedom. This paper will address the life and death feelings of the protagonist implicated by war memories.