太宰治『津輕』論──「表」與「裡」的作品構造

“Tsugaru” of Dazaiosamu

太宰治『津輕』為1944年11月小山書店所發行的「新風土記叢書」第七篇。這篇作品被稱為是作者的「回歸故鄉」之創作，但是在這篇作品中所說的故鄉所指為何？本論首先要將這一點釐清；此外，再將重點放在分析「昭和」以及「聖戰下」的時代狀況是如何被表現出來，來明確本篇作品的特徵。太宰治將『津輕』這篇作品和他的實際人生故事作連結，透過此方法，錯開「新風土記叢書」原本設定的「故鄉」概念，進而完成一冊小說。在這個作品中經常刻意地製造出「表」與「裡」的關係，描繪出多層次的作品世界。這是在有檢閱制度的言語統制時代下，作家的一種向限度挑戰的方式，我們可以從此看出作者的創作態度。

”Tsugaru” of Dazaiosamu was seventh book of Neo-Fudoki Series, which was published by Oyama bookstore in July, 1944. They said ”Tsugaru” was author's ”homecoming work”, however, what does ”home” mean in this work? First of all, the implication of ”home” will be discussed clearly in this thesis. Furthermore, we will analyze how the period situation under ”the Showa era” and ”holy war” was expressed in ”Tsugaru”. Through connecting ”Tsugaru” with his real life story, Dazaiosamu passed the original-setting concept of ”home” in the Neo-Fudoki Series and then completed the novel--Tsugaru. ”Implicit” and ”explicit” writing styles were combined in ”Tsugaru” and that usually expressed purposely, and further it depicted a multilevel context of work. This is the way Dazaiosamu challenged the limit under the governance of the period of censorship，and from this, we can realize the writing attitude of the author.