佐多稻子《樹影》論──女性的「生」與「民族意識」（Reading Sata Ineko's Juei (The Shadow of Trees): Focused on Women's''Life''and''Ethnicity''）

佐多稲子の『樹影』論──女性の 「生」と 「民族意識」から見る

林京子以女性的「生產性」及悲慘的「死」以及「被曝二世」的角度，將長崎八月九號的事寫入作品裡。同樣是長崎出生的作家佐多稻子原子彈投下的當時，並不在長崎。儘管如此，仍然將8月9日原子彈投下長崎時所引起的散落的放射能，波及人類的肉體與精神所帶來的影響寫入小說《樹影》裡。登場的主角二十七歲的柳慶子生長於長崎『新地』，及已有妻室小孩的日本人畫家麻田晉，在戰敗後的1948年至1967年的二十年，一邊和身體內部的原子彈所造成的影響爭鬥，一邊不得不孤獨地活下去。其中，中國人二世的柳慶子雖然出生於長崎，也間接受到原子彈的放射能的曝射，卻不被承認是日本人，在沒有安心立命的長崎，拖著被放射能曝射的虛弱的身軀，努力地生存下去。本發表欲探討中國人二世柳慶子在故鄉長崎，如何與原爆，外遇及民族意識糾纏下生活下來的軌跡。

Different from Hayashi Koyko, who deals with women's productivity'', horrible ''death'', and children of the hibakusha (people exposed to the effects of atomic bombing) in Nagasaki in her works, Sata Ineko, though also a Nagasaki native, was not a hibakusha. Despite that, her novel Juei (The Shadow of Trees) is important in that it reveals diverse radioactive experiences of hibakusha in Nagasaki and foregrounds issues of ethnicity and morality. Juei deals with the relationships between Ryo-Chingzi, a 27-year-old Chinese woman lived in Shinchi, Nagasaki, and Asada Susumu, a married painter. Both had been forced to live with loneliness while suffering effects of radiation exposure from 1948 to 1967. As a Chinese decedent, Ryo-Chingzi was denied as a hibakusha by Japanese and had to combat diverse adversities. This paper focuses on her life story which highlights the presence of marginalized hibakusha thus to explore issues relating to genbaku (atomic bombing), ethnicity, and gender.