真杉静枝文学における女性像: 女性の自我の視点を通して

Abstract

成長於日治時期臺灣的真杉靜枝，以1920年代~1940年代日治時期的臺灣為背景，發表許多以日本女性為主題的作品。因此，本論文著眼於其作品中的女性形象，以「女性自我」的視角來探討當中女性人物是否符合性別角色、跳脫性別框架抑或拋棄自我以符合社會期待，藉此得知真杉筆下女性人物在面對戀愛、婚姻、人生等困難時所採取的態度。 本論文具體的研究過程如下：首先，第一章聚焦於＜站長的少妻＞、＜異鄉之墓＞、＜南方之墓＞及＜南方的記憶＞四部心境小說，探討為戀愛及婚姻而艱苦奮鬥的女性人物；再者，第二章以自傳小說＜女兒＞為文本並探討作品中母女關係間的糾葛以及梶子如何在成長過程中反抗母親及追求自我；最後，第三章聚焦於＜母親的傑作＞及＜烏秋＞兩部自傳小說中姊妹的生活方式，並分析兩者對於戀愛及婚姻的價值觀以及各自的女性形象。 基於上述分析可歸納出三項結論：(1)四部心境小說中的女性角色雖有反抗守舊社會的想法，但由於沒有經濟獨立的能力導致無法跳脫父權社會的拘束。(2)＜女兒＞中的梶子勇於反抗被母親強迫的婚姻，並追求自己理想的生活方式。(3)＜母親的傑作＞與＜烏秋＞中的妹妹喪偶後兼顧育兒與工作，展現頑強不屈的姿態；姊姊則是在面對沒有結果的愛情，仍然義無反顧地付出。

Shizue Masugi was raised in Taiwan during the Japanese colonial period. She published a great many literary works on Japanese females under the historical background of the Japanese colonial period from 1920 to 1940 in Taiwan. Therefore, the present study put focus on the female image in Masugi’s works and delved into women’s roles from the lens of the female ego to examine whether the women depicted in her works lived up to the gender role, popped out of the sexual frame, or abandoned themselves to fulfil the society’s expectations. From doing so, the female figures’ attitudes portrayed by Masugi could be clearly observed when they were faced with difficulties, such as the challenges of love, marriage, and life. The procedures of conducting the present study can be divided into the following three steps. First and foremost, chapter one focused on the four I-novels: Ekicyonowagakitsuma, Ikyonohaka, Namponohaka, and Nankainokioku. the female figures who were struggling for love and marriage were deeply investigated. Secondly, chapter two focused on an autobiographical work, Musume, to discuss the intertwining relationship between the mother and the daughter and how Kajiko fought against her mother and followed her heart. Last but not least, chapter three focused on the lifestyles of two sisters in two autobiographical works, Hahanokessaku and Ocyu. The two sisters’ thoughts on romantic relationship and the female image were carefully analyzed. The results of the analysis mentioned above can be compiled into three points. First, although the female figures in the four I-novels bore the thought of revolting against thoughts of the conservative society, they still failed to crack the shackles of the patriarchal society because they were not financially independent. Second, Kjiko in Musume fought courageously against the marriage forced by her mother and pursued the ideal lifestyle. Third, in Hahanokessaku and Ocyu, after the death of the younger sister’s husband, she needed to take care of her children and herself at work concurrently, displaying the unyielding spirit. On the other hand, the older sister was facing the fruitless love. Even so, she still did whatever needed to be done for the relationship unconditionally.