戲仿體制的反世界──倉橋由美子的顛覆性幻想文學

The Anti-World that Parodies All Systems: Kurahashi Yumiko's Subversive Fantasy

倉橋由美子於其處女作「黨」中，運用饒富衝擊性與前衛性的創作手法，以驚豔之姿引發文壇陣陣漣漪。輒與大江健三郎相提並論的倉橋，更經常被視為日本現代女性文學之嚆矢。倉橋極其厭惡現實世界裡無時無刻箝制女性存在的荒謬體制與社會關係，因此在創作中締造了反世界，企圖藉由破壞性、顛覆性的幻想手法來挑戰現實世界裡的制度基盤與思想體系。本論文以倉橋由美子的短篇小說為主要分析對象，透過以女性被壓抑的慾望或恐懼、甚至女性所面臨的暴力等主題來進行文本分析，探討作者如何以揶揄、諷刺、批判的手法來詰問包含了性等各種既有概念的真實性，並藉此揭露現世各種體制的虛構性與恣意性，進而追求不再受體制或他者所箝制而一切操之在我的自主性。

Due to her avant-garde style of writing that brought about ripple effect to the field, Kurahashi Yumiko's debut work “Partei” stunningly arrested the attention of the literary world. Often compared to _e Kenzabur_, Kurahasi is mostly seen as the forerunner of modern Japanese women's literature. Strongly loathing its actuality and social relations of the takenfor- grated-world that persistently represses women-as-selves, Kurahashi creates an anti-world that is imbued with subversive and deconstructive fantasies in order to challenge every current system of thoughts. This paper explores narrational and textual aspects of Kurahashi's short novels with a focus on themes of women's repressed desire and fear, as well as violence against women. It is my intention to demonstrate how the writer has tactically applied the modes like parody and pastiche to interrogate every single terrestrial concept including sexuality. Furthermore, I would argue for Kurahashi's purpose of creating an anti-world in which she proposes how women's unconditioned subjectivity and sexuality could be sought out and attained.