鹽漬莓果 ：今日町子漫畫重憶／重譯的女性二戰記憶

Salted Berries: The Remembrance and Reinterpretation of Women's WWII Memories in KyōMachiko’s Comics

漫畫作為影像與文字複合的文藝文本，以人物群像、對白與圖像框格作為敘事媒介，在描繪歷史、戰爭題材上，同時帶有具象性（圖像）及虛構性（角色對白）兩種元素，與正史敘述必然有所不同，具有成立「野史敘事」的潛力，其中今日町子（今日マチ子）千禧年後的二戰漫畫即為顯著案例。本文將以今日町子描繪沖繩戰「姬百合學徒隊」的漫畫《cocoon》、與描繪長崎原爆的《天堂》（《ぱらいそ》）為分析對象，觀察千禧年後，戰後世代創作者如何以自身所處時代的社會脈絡，對前人戰爭經驗進行「重新體驗」、並對其表示哀悼。本文將對兩部漫畫進行文本分析，觀察今日町子著重的「少女」、「非日常」、「異托邦」等創作主軸，重新梳理兩篇作品如何運用戰後的「記憶／哀悼政治」，建立起「女性野史敘事」的定位。最後，本文也將嘗試把今日町子重造的新世代沖繩敘事、與四〇年代的「姬百合傳說」文藝作品進行比對，觀察今日町子的敘事策略中，對「史實」的接受、依賴程度，以及其戰爭漫畫創作的重要性。

Comics use visualized characters, dialogues, and frames as narrative media. When portraying historical subjects, it carries both the concreteness of images and the fictionality of characters' dialogues, setting it apart from official historical accounts and giving it the potential to create 'alternative narratives.' A notable example of this is the war comics presented by KyōMachiko (今日マチ子). This paper examines two of KyōMachiko's war comics: Cocoon(2009-2010), depicting the 'Himeyuri Student Nurses' in the Battle of Okinawa, and Paraiso (2015), portraying the Nagasaki atomic bombing, to observe how postwar-generation female artists reinterpret and mourn wartime experiences within their contemporary social contexts in the post-millennial era. Through textual analysis of these two comics, this paper explores KyōMachiko's focus on three specialized themes: 'girl’s war perspectives, ''anti-daily lives, 'and 'war heterotopias,' and examines how the comics employ the politics of memory and mourning, to establish the unique women’s/post-war generation’s alternative narrative. Finally, the paper attempts to compare KyōMachiko’s reconstructed Okinawan Campaign narrative with the literary works of the existing‘Himeyuri Student Nurses’novels and memoirs in post-war Japan and Okinawa, analyzing how KyōMachiko engages with the main historical accounts and facts in her alternative narrative strategies and the significance of her contribution to Japan war comics.