真杉静枝文学における風景描写と人物との関係 ―植民地台湾に関する作品を中心に―

Abstract

真杉靜枝以幼年時期居住於臺灣，以及戰時下再訪臺灣探望家人的經驗為基礎，創作多篇描寫日治時期臺灣的作品，並透過大量且細膩的風景描寫呈現殖民地臺灣的樣貌。另一方面，日本近代文學中的風景描寫被認為具有映照人物內心的作用。基於此，本論文聚焦於殖民地臺灣作品中的風景描寫，探討其與人物情感、記憶及生命經驗之間的關係，並進一步分析真杉靜枝大量描寫臺灣風景的原因及其文學意義。 第一章以初期小說〈南方之墓〉為中心，並輔以〈站長的少妻〉、〈異鄉之墓〉、〈南海的記憶〉等作品，分析作品中「草」、「雨」、「月亮」等風景要素的變化，探討其如何反映人物的內心狀態與命運發展。第二章以1939年訪臺後創作、以阿里山為舞臺的四篇小說〈阿里山〉、〈蕃女理韻〉、〈理歐．哈庸的溪谷〉及〈囑咐〉為研究對象，結合新高阿里山國立公園的歷史背景，探討風景描寫與人物內心之間的關係，並分析作者如何透過平地與山地支配空間的翻轉、蕃人的客體化，以及移植「莎韻事件」的事發地等手法，建構出理想化的「帝國風景」。第三章則以紀行作品〈雨〉與〈南部點描〉為中心，考察離別的情境下風景與敘事者及其家人內心情感的互動關係，並與初期小說中的雨景描寫相互比較，以闡明不同創作時期風景描寫的變化及其原因。 綜合以上分析可知，真杉靜枝作品中的風景描寫並非僅作為故事的背景，而是在殖民地統治與制度脈絡之下，與人物的情感、記憶及生命經驗緊密結合，成為映照人物內心的重要媒介。此外，無論是小說或紀行，雖然敘事形式有所不同，但風景描寫皆一貫地承載人物的內在情感，反映出作者以自身臺灣生活經驗為基礎，將臺灣風景轉化為文學表現的重要特色。透過對風景與人物關係的考察，本論文進一步闡明了真杉靜枝風景描寫的文學意義及其在殖民地臺灣文學中的獨特性。

Shizue Masugi published numerous literary works depicting Taiwan under Japanese colonial rule, drawing upon both her childhood experiences of living in Taiwan and her wartime visits to the island to see her family. These works are characterized by their rich and detailed depictions of colonial Taiwan’s landscapes. Meanwhile, landscape representation in modern Japanese literature has often been regarded as a means through which the inner states of characters are revealed. Focusing on this perspective, this thesis examines the relationship between landscape representations and characters in Shizue Masugi’s works concerning colonial Taiwan, aiming to analyze why she repeatedly depicted Taiwanese landscapes and to reveal their literary significance. Chapter One focuses on the early novel Nanponohaka, while also examining Ekicyonowakakitsuma, Ikyonohaka, and Nankainokioku. Through an analysis of changes in landscape elements such as “grass,” “rain,” and “the moon,” this chapter explores how these depictions reflect the psychological states and fates of the characters. Chapter Two examines four works written after Shizue’s return visit to Taiwan in 1939: Alishan, Banjyorion, Rionhayonnotani, and Kotozuke. Considering the historical background of the Niitaka-Arisan National Park, this chapter investigates the relationship between landscape representation and the inner emotions of characters. Furthermore, it reveals the process through which an idealized “imperial landscape” was constructed through the reversal of dominant spaces between the plains and mountain regions, the objectification of banjin (Taiwanese indigenous peoples), and the relocation of the setting of the Sayon Incident. Chapter Three analyzes the travel writings Ame and Nanbutenbyo, examining the emotional relationships between landscapes, the narrator, and family members under circumstances of separation. By comparing these works with the depiction of rain in the early novels, this chapter further considers the transformation of landscape representation across different periods of Shizue’s writing and the factors behind such changes. The analysis demonstrates that landscape representation in Shizue Masugi’s works functions not merely as a background for the narrative, but as an important medium that reflects the inner world of characters by intertwining with their emotions, memories, and life experiences within the contexts of colonial governance and institutional structures. Although this thesis examines different genres, namely fiction and travel literature, the representation of landscape in both forms shares a common characteristic: it serves to express the inner states of characters. Through an examination of the relationship between landscape and character, this study further elucidates the literary significance of Shizue Masugi’s landscape representations, as well as her distinct place in literature concerning colonial Taiwan.