語言越境、形象自塑與文化交融──李琴峰非母語書寫研究

"Transborder Language, Self-made Images and Cultural Blending──Study on Li Qinfeng’s Non-mother Tongue Writing"

台灣作家李琴峰以日語小說《彼岸花盛開之島》獲第 165 回芥川賞，一夕間成為日本和台灣文壇的矚目焦點。李琴峰在日本被歸屬於「越境作家」，但她和同樣具有台灣籍且以日語書寫的陳舜臣、東山彰良、溫又柔等人不同之處在於，她並不是從小就浸淫在日語語境中，而是十五歲之後才開始接觸到這個語言。 比起越境，李琴峰更獨特之處是「非母語書寫」，芥川賞讓她成為第一位以非母語書寫打進日文主流文壇的台灣作家。她還親手把自己的日文小說翻譯成中文，在翻譯界創下了少見的自譯案例，也讓讀者可以經由兩種不同語言版本的比較，探看她在寫作上的企圖心。本文研究重點在於李琴峰的非母語書寫，從語言越境、形象自塑和文化交融三個方向，分析探討她以日語創作和中文自譯的《獨舞》與《倒數五秒月芽》兩部小說，希冀藉此辨明李琴峰作品價值和在華人非母語書寫史上的開創性意義。

"Li Qinfeng (Li Kotomi) is a Taiwan-born fiction writer who writes in Mandarin and Japanese. Her Japanese novel An Island Where Red Spider Lilies Bloom （彼岸花 が咲く島） won the 165th Akutagawa Prize, made her famous in the literature world of both Japan and Taiwan. Li Qinfeng is broadly considered a “transborder writer” in Japan, but different from Chin Shunshin, Akira Higashiyama, and Wen Yuju. Li started learning Japanese when she was 15 years old, so, arguably, Li has made herself the first non-mother tongue writer who comes from Taiwan and enjoys literary prestige in Japan. Li translated two of her novels from Japanese into Chinese, allowing readers to explore her writing ambitions by comparing these two different language versions. This article focuses on Li Qinfeng’s non-mother tongue writing, discussing the translingual practices, self-made images, and cultural exchange in her Solo Dance （独り舞） and Count to Five and the Crescent Moon （五つ数えれば三日 月が）."