解讀戰後日本女性文學中的幻想世界之一景──以金井美惠子之「兔」為例

The Postwar Japanese Women Writer's Fantastic World-Kanai Mieko's 'Rabbits'

第二次世界大戰後日本的新興女作家，不約而同的以或擬態或諷刺或怪誕詭譎的手法創造出幻想的世界（fantasy），藉以挑戰日本戰敗後卻仍根深蒂固的「家族國家」意識形態及由男性宰制的性別關係。而經常出現在這些女作家幻想世界中的主題包括了亂倫、施受虐狂、遺忘症、殺嬰、食人肉、謀殺分屍、毀容等等。藉由聯想的和隱喻的模式所創造出來的幻想世界，女性作家得以跳脫男性主導的論述，以錯置自身慾望的方法表達自身之主體性。在這些令人不安的作品中，金井美惠子的短篇小說所呈現的怪誕幻想世界最是震撼人心、令人印象深刻。本研究計畫將以金井美惠子短篇小說的代表作「兔」為主要的文本分析對象，透過佛洛依德的心理分析理論，以及後結構女性主義者巴特勒（Judith Butler）的性別理論，試圖解讀金井美惠子如何透過殘暴、血腥、詭譎的幻想世界來類比並諷刺強加於女性身體上的性別符號以及種種權力論述。相信此稿能夠提供對金井美惠子作品深度的解讀，一窺戰後女性作家選擇以幻想為其寫作策略所隱含之性別政治企圖。

After Japan had obtained economic and political autonomy since the 1960s, women writers comprised an important part of the literary community. In this immediate postwar period, most Japanese women writers started probing into the residual destructive effects of the Japanese family system and re-examining the strictly determined gender roles assigned for women to observe. Among the active women writers of the l960s and l970s, Kanai Mieko explored some of the most offensive themes and presented some of the most disturbing images in her fantastic stories that literally deconstructed the confined gender roles and the Japanese family system. In this paper I conduct text analysis to contextually examine one of Kanai's representative short stones, ”Rabbits.” an extraordinary and horrific version of a girl's Oedipal 'wish-fulfillment. To facilitate the discussion. I employ Freud's psychoanalysis theory as well as Judith Butler's gender perspective to illustrate ho Kanai uses the female body as a source of metaphor, a locus of structural analogy, and how she makes visible the ways in which the body has been gendered to re-produce and maintain the power economies of patriarchy.