大庭美奈子初期作品中的叛逆女性形象－以 「三隻螃蟹」 「青狐」為例

The Image of Rebellious Female inŌba Minako's Early Works: Featuring ''Three Crabs,'' and ''The Pale Fox''

緣於其長期旅美經驗，大庭美奈子屢屢透過跨越國界或文化藩籬之人物角色的創作，來打破既有之男女相對關係，對規範性別、家庭、國家之種種制度施以冷嘲熱諷，以遂其企圖探索女性另類的聲音。在大庭筆下嘗試從社會規範中尋求解脫的許多女性們，乍看似乎多為狂放不羈、放浪形骸者，然而事實上她們無非是專心一志地摸索著女性原本應有的、而不受任何制度規範的自由生活方式。本研究以大庭早期的短篇小說為主要文本分析對象，探討作中女性在自我慾望與他者慾望相互抗衡之餘，如何尋求自我表現的過程，以及與他者磨合之際所帶來的創傷與孤獨裁。藉此，進而分析大庭如何透過現代叛逆女性之表像，來表達女性於現實世界中被壓抑與被禁音的強烈情慾與自我主張。

Due to her personal long-term experience of living overseas, Ōba Minako often tends to create characters who could cross national and cultural boundaries in her works. In virtue of her creative characters, she intends to ridicule the overarching system that defines/confines gender, family and nation on the one hand, and thereby to explore alternative voice (s) of women on the other hand. Most of Ōba's creative female characters appear to be bohemian and debauched, who are in fact struggling to break free from current norms and confinement in society. Under the various images of rebellion are nothing but modern women's desires to lead a carefree and unrestrained way of life. In this paper, Ōba's early works of short novels are the focus of textual analysis for the purpose of exploring the female self-expression, trauma and loneliness arising from the struggle and entanglement between her subjective sexuality and the other's desire. Furthermore, I would argue that Ōba's creative writing of rebellious modern women in her early works is intended to release and reveal women's repressed sexuality and silenced self-expression in the terrestrial world.