多和田葉子文学における二項対立の解体―間テクスト性の考察を通して―

Abstract

多和田葉子（1960-）以日語和德語進行雙語創作，為日本越境作家的代表人物。本論文聚焦於多和田有意識地運用「互文性（intertextuality）」手法所創作的三部小說——《入贅的狗女婿（犬婿入り）》、《赤裸眼眸旅行中（旅をする裸の眼）》、《抓住雲的故事（雲をつかむ話）》，旨在闡明多和田如何透過文學創作的改寫，來解構各種二元對立，並提出回應此種對立的新視角。

第一章聚焦於《入贅的狗女婿》，分析多和田如何改寫日本民間故事「狗女婿傳說」，並結合性別理論探討「男性／女性」與「多數／少數」等二元對立如何被解構。第二章以《赤裸眼眸旅行中》為對象，分析當中的前文本——《Indochine》及《Est-ouest》這兩部電影——如何被改寫，進而探討「西方／東方」此二元對立之框架如何被解體。第三章則以《抓住雲的故事》為對象，首先探討其第四章中對前文本《約伯記》的改寫，並進一步分析其他章節中諸多前文本如何彼此呼應與對話，從而揭示「善／惡」之二元對立如何逐步被消解。

根據上述分析，可歸納出以下三點結論：（1）多和田筆下運用互文性手法的作品，往往呈現多層的敘事結構；（2）多和田的互文性手法不僅止於引用前文本，而是透過改寫對既有的價值觀與社會框架提出反思與批判；（3）多和田對於「男性／女性」、「東方／西方」、「善／惡」等二元對立提出質疑與批判，但並非僅止於反轉對立結構中的上下關係，而是意圖從根本上瓦解二元對立本身。透過批判性的改寫，多和田邀請讀者跳脫固有思維，探索新的視角來理解多元而複雜的當代社會。

Tawada Yōko (1960-), known as a “border-crossing writer,” writes bilingually in Japanese and German. In this paper, I focus on three of Tawada's novels in which she consciously employs intertextuality—The Bridegroom Was a Dog, The Naked Eye, and Kumo wo Tsukamu Hanashi—to illuminate how Tawada deconstructs various binary oppositions through rewriting and proposes new perspectives to address these oppositions.

Chapter 1 focuses on The Bridegroom Was a Dog, analyzing how Tawada rewrites the Japanese folktale of the dog bridegroom, and exploring how the binary oppositions of "male/female" and "majority/minority" are deconstructed through a gender lens. Chapter 2 focuses on The Naked Eye, analyzing how the pre-texts—the two films Indochine and Est-ouest—are rewritten, and then exploring how the binary opposition framework of "West/East" is ultimately dismantled. Chapter 3 focuses on Kumo wo Tsukamu Hanashi, beginning with an analysis of the rewriting of the Book of Job in Chapter 4 of this work, and then examining how the various pre-texts in other chapters resonate and dialogue with each other, ultimately revealing how the binary opposition of "good/evil" is gradually dissolved.

Based on the above analysis, the thesis draws three main conclusions: (1) Tawada's works that use intertextuality usually present a multi-layered narrative structure; (2) in Tawada's literary works, intertextuality is not merely the reproduction of other texts, but rather a critical approach that questions existing values and social frameworks; (3) Tawada questions and critiques binary oppositions such as "male/female," "East/West," and "good/evil." Rather than merely reversing these binary oppositions by elevating the traditionally subordinate terms, she attempts to dismantle the structure of binary oppositions themselves. Through rewriting, Tawada invites readers to think outside the box and explore new perspectives for understand this diverse and complex contemporary society.