當代臺日文學中的女聲研究──以賴香吟〈翻譯者〉與津島佑子《太過野蠻的》為觀察對象

Abstract

本文以賴香吟〈翻譯者〉及津島佑子《太過野蠻的》兩個文本為研究對象，探討台灣文學作品中的女性聲音。本文選擇的兩篇分別生成於日、台兩地，相異主題中一共同特點為文本中均出現後輩女性為前輩「發聲」之情節，代為發「聲」的必要性及其意義也是本文析論的主題之一。首先討論所謂「文本中的女性聲音」，由敘事學、性別論述、小說理論為基礎，嘗試建構研究「女性聲音」的可能途徑。其次進行文本分析，〈翻譯者〉刻意突顯「聲音」，相較於沉默無聲的女性角色；文本中充斥各種「人聲」，主角呈現的卻是其內在敘述聲音，對比出女性因父權力量失去話語但內在聲音並未因此被壓抑，甚至可以對父權提出反思。從台灣文學視野觀察日本文學作品《太過野蠻的》則可以由女性視點的霧社事件、內地人女性以及喪子母親三方面觀察文本中的女聲。透過書信、日記及內在話語，女性聲音的力量得以不受父權干涉而完整呈現。結論則由兩個文本中的女聲分析結果討論女聲呈現的姿態，面對國族/父權，兩個文本裡的女聲呈現的是反思，而非反抗。

This thesis , featuring on two novels in contemporary Taiwan and Japan, Taiwanese writer Lai Xiang-Yin ‘s “the Translator” and Japanese writer Tsushima Yuko’s “Amariniyabanna,” aims to discuss the women’s voice in Taiwan Literature. Both of the novels mention “voice” in the text, and there are also women speaking out for the elder generation in the storylines. Hence, first I will review the theories dealing with women’s voice: the Feminist Narratology, gender discourses and literary theories as to create a method to discuss the women’s voice in the texts. In “the Translator,” the actor is silent vocally while her inner voice never stops. By this comparison, though losing the oral speaking, the women’s inner voices do not be repressed by patriarchy. And “Amariniyabanna” reveals three kinds of women’s voices in the text, the Japanese woman living in Taiwan in colonial period, the woman with a child passed away as well as the women’s point of view of the “Wushe Incident.” By analyzing the letters, diaries and the utterance in the novel, women’s voice appear clearly without the bother from patriarchy. In conclusion, in this two texts, instead of resistance, women’s voices show their reflection toward the Nationalism / patriarchy .