角田光代文學中的母女關係 —以《空中庭園》《第八日的蟬》為例—

The Mother-Daughter Relationships in Kakuta Mitsuyo's Works—An Exemplary Discursive Analysis of Hanging Garden and The Eighth Day—

鞍作為政治機器的家庭，不但具體制約、規範了人們的潛意識，更是在建構 最緊密的人際關係與形塑主體認同上主要的依歸。然而，一般認為家庭愛是永遠 的，或是無私的母愛是家庭運作永遠不變的核心等等之｢幻想｣，卻往往成為壓抑 女性的機制。許多女性作家在探討女性身為妻子、母親與女兒之角色時，亦試圖 揭露家庭如何成為女性追求其個體自由之羈絆，並進而企圖尋求更具多樣性的家 庭型態。 而在這些女性作家中，屢屢聚焦於母女關係的角田光代透過母女不同視角之 刻畫，探討兩者間之對立與懊悔等錯綜複雜的糾葛。本研究將以角田代表作《空 中庭園》與《第八日的蟬》進行文本分析，探討作家之問題意識並分析其作品的 深層世界。再者本文試圖爬梳作者如何運用嘲諷等後現代主義之手法，擾亂家庭 制度之宏大敘事(metanarrative)，以及如何以另類敘事(alternative narrative)來建構 不受｢母｣｢女｣文化符碼所箝制之女性自我認同。

 

Harnessed as a political machine, the family constitution not only regulates the relations between family members, conditions their unconsciousness, but also dictates their identification and formation of subjectivity. However, the myth of eternal family love, mainly self-sacrificing maternal affection, often becomes the suppressing mechanism upon women. When depicting the roles of wife, mother and daughter, most of Japanese woman writers attempt to reveal how women’s pursuit of their personal freedom and subjectivity would be greatly fettered by the family system. Kakuta Mitsuyo often explores the intricacy of both antagonism and remorse between mother and daughter, through her portrayals of different perspectives from both sides. To employ textual analysis on two representative works of Kakuta, this research is intended to examine the writer’s awareness of the said issue and unveil the innermost world depicted in the works. In addition, this paper attempts to clarify how Kakuta uses postmodern methods such as parody to disrupt the metanarrative of the family system, while practicing alternative narratives to construct a female subjectivity which is not bound by the cultural category of "mother" or "daughter."