谷崎文学の『痴人の愛』、『卍』、『鍵』における ミソジニーの様相

Abstract

日本近代文學史上，曾七度獲得諾貝爾文學提名，並且被譽為「大谷崎」的谷崎潤一郎，終其一生追求「女性崇拜」之寫作信念，在他筆下之男主角跪拜於官能美的女性膝下，並從嗜虐與受虐中陶醉於精神與肉體痛切的快感，將怪誕、耽美、嗜虐、悖德、神秘幽玄之美學要素集大成，盡情揮毫嗜虐、畸戀、性倒錯「戀足癖」等情慾，故谷崎文學所崇拜的女性被喻為娼婦、妖婦、惡婦。然而就社會學、心理學的觀點而言，家父長制下男性的「女性崇拜」同時揉合了厭女症的意識。因此，本論文運用日本著名的女性主義學者上野千鶴子《厭女:日本的女性嫌惡》之見解，聚焦於初期代表作《痴人之愛》、中期代表作《卍》、晚期代表作《鑰匙》進行論證並由以下三個面向來分析。①谷崎文學的「女性崇拜」②谷崎文學的嗜虐要素③男性「教育者」與女性「被教育者」之間的權力関係，來探討日本的父權社會與家父長制下的厭女症是如何投影至谷崎文學中。透過如上考察，發現谷崎筆下男性的「女性崇拜」與「被虐癖」，終究只是為了滿足自己的性慾望而採取的戰略手段，在男性施予的教育下，男性為主體、女性為客體的二元對立階級從未動搖，反而更根深蒂固，女性將身體自主權託付於男性，遵循了男性所確立「美為強者，醜為弱者」之價值觀。與此同時，卻遭受惡女等罵名與藐視，即可窺知，男性將女性塑造成魅力卻又能輕藐的對象，再毫不容渉地物化，視女性為官能的象徵，實為男尊女卑的體現。且谷崎文學中「三角形慾望」的男性共犯結構、「恐同症」都一再證實，「女性崇拜」與「被虐癖」背後隱含著父權制度下，觀看者與被看者、主體的男性與客體的女性、主宰者與被支配者的厭女症傾向。

Jun'ichirō Tanizaki, nominated for Nobel Prize in Literature seven times, was called The Great Tanizaki in the history of modern Japanese literature. He pursued the writing concept of “female worship” in his entire life. His heroes kneel at the feet of women with functional beauty, and through abuse and abused, they are intoxicated in the pleasure of the sharp pain, mental and the physical. Gathering the esthetic elements such as grotesque, aestheticism, sadomasochism, immorality, and mystery, he enjoyed describing the passion for sadomasochism, perverted love, sexual inversion, and “foot fetishism”. Therefore, the women worshipped by the literature of Tanizaki are compared to whores, temptresses, and hellcats. However, from the point of view of sociology and psychology, the “female worship” of men under the patriarchy also contains the ideology of misogynism. Therefore, this article uses the insights of Misogynism: the disgust of women in Japan, written by the famous Japanese feminist scholar Chizuko Ueno. Focusing on an early masterpiece Naomi, a mid-term masterpiece Quicksand, and a late masterpiece The Key by Tanizaki, the following three aspects are analyzed to explore how the misogynism under Japanese patriarchal society and patriarchy reflect in the literature of Tanisaki. ① “female worship” in the literature of Tanisaki ② the sadomasochism elements in the literature of Tanisaki ③ the power relationship between the male “discipliner” and the female “disciplined” Through the investigation described above, I discovered that the “female worship” and “masochism” of men created by Tanizaki were only strategies taken to satisfy their sexual desires after all. Under the discipline given by men, the binary system, in which men are the subjects and women are the objects, was not only immovable, but became more deep-seated. Women had entrusted their physical autonomy to men, following “the beauty is the strong, the ugly is the weak”, the values established by men. But at the same time, they suffered from contempt and infamies such as “hellcats”. It indicates that men constructed the image of women as attractive but contemptible objects. With absolute objectification, women were regarded as functional symbols. These are actually reflections of the ideology: male is “dominant” and female is “submissive”. Moreover, the male accomplice structure of “Triangle Desire” and the homophobia in the literature of Tanizaki, have repeatedly confirmed that there are tendencies of misogyny, under the seeing/ being seen, male subject/ female object, dominant/ submissive structure of patriarchy, behind the “female worship” and “masochism”.