以2000年之後的大江健三郎三部作品為主，探究超越國家主義者〈父親〉的歸向

Father Alias Ultra-nationaIist's Whereabouts: Kenzaburo Oe, Focusing on Trilogy after Year 2000

2000年大江健三郎出版「頂替的醜兒」一書，此作品所表達的主題之一為「自己的父親問題，如同血液般潛藏於自己心中的國家主義問題」。這意味著以1960年的「遲來的青年」一書為契機，掌握了40年間父親與超越國家主義主義之間的一貫性，並且於三島事件後的「天皇把我的眼淚拭去的日子」一書中特別顯著。其乃顛覆父親崛起意義的價值，猛烈批判三島由紀夫的天皇觀，國家觀。之後，於「頂替的醜兒」、2002年的『面帶愁容的』童子」」2005年的「再見了，我的書！」等作品中持續傳達這個主題。此證明了〈父親〉與〈超越國家主義〉於大江心中如同是「一個燃燒般的感情主題」的存在。再者，「頂替的醜兒」書中甦醒的父親形象到底為何概念？本論文著眼於與三島事件有密切關連的「崛起」，聚焦2000年之後這三部作品當中的新父親形象的同時，探究各作品中身為超越國家主義者的父親的演變、伴隨父親的天皇制度與對三島事件的批評此三者間的關連性。

Kenzaburo Oe published ”Changeling” in 2000 whose theme refers to father and a heritage of ultra-nationalism hidden within him. This infers that upon the publication of ”The young man who came late” in 1960, the theme of father and ultra-nationalism has been consistently used for as long as 40 years. Especially for ”The day that the Emperor will personally come and wipe my tears” which was published after the Mishima incident, the publication found out that the attempt to deny the significance of rebellion by father has led to scathing criticism against the reverence of the Emperor as well as nationalism by Yukio Mishima. Subsequently, this theme was carried through from ”Changeling” to ”The Douji who looks melancholy” in 2002 followed by ”Good bye My Book!” in 2005. Indeed, these publications had proven that both father and ultra-nationalism existed passionately in Oe's mind throughout the theme. What is then the image of father who revived in ”Changeling”? By paying attention to ”rebellion ” that is deeply related to the Mishima incident as well as focusing on the new image of father in trilogy after 2000, this thesis not only pursues father as an ultra-nationalist, but also unearths the intimate relationship between the criticism of the Mishima incident and the imperial system that was endeared by father.