田村俊子的文学世界

【作者】 李莲姬；

【导师】 谭晶华；

【作者基本信息】 上海外国语大学 ， 日语语言文学， 2014， 博士

【摘要】 田村俊子是活跃于明治末年至大正时期日本文坛的近代第一位职业女性作家。她的代表作《断念》、《生血》、《女作者》、《木乃伊的口红》、《她的生活》在创作之初就备受瞩目，在作家这一身份被默认为是男性作家的时代背景之下，“女作者”田村俊子通过写作在文坛上争得一席之地，一跃成为时代宠儿。但是，田村俊子就像一颗划过天际的流星一样，她的光芒在1918年她离开日本之后便黯淡了。之后漫长的被遗忘的历史使她极少出现在任何有关日本文学史的论述之中。直到1987年12月至1988年5月由黑泽亚里子和长谷川启共同编撰的《田村俊子作品集》（共3卷）的面世，才使这个尘封的“女作者”重新回到读者的视野之中。重新解读田村俊子的文学，赋予她应有的文学史的地位成为解构传统文学史的权力言说，努力挖掘被埋没和遗忘的女性作家的作品，建构女性文学史的不可或缺的重要组成部分。本论文聚焦于被称为“田村俊子时代”，即以“田村俊子”之名于1910年至1918年间发表的作品。之所以聚焦于这个时期是因为，从文体上来说，这个时期的田村俊子经过了她在文体上的摸索期而完成了向言文一致体的过渡。从内容上来看，作家摆脱了文学修炼时期的青涩和肤浅，使作品世界而呈现出稳定的、丰富的、多层次的、深刻的状态。在论文的具体操作上，笔者拟从两个方面来切近田村俊子的文学作品：首先，田村俊子是如何通过身体叙事（一种基于女性身体体验的写作姿态）来呈现女性特有的身体状态。女性的身体是田村俊子文学获得内涵与意义的根本来源，成为作家表现和张扬自我主体之场。其次，她又是如何通过对女性在家庭、社会中的生存状态的描述来剖析使女性处于被动、弱势甚至是撕裂式状态的深层社会构造。论文拟分成引论和四个章节逐层论述。引论部分对日本的田村俊子研究做了系统的梳理并探讨了田村俊子文学研究的方法论变迁，并在此基础上提出本论中需要解决的问题以及研究路径。第一章“性之觉醒”。在这一章中通过解读《味道》和《离魂》两部作品，笔者将论述在田村俊子的文学世界中，女性身体的成长、成熟，特别是关于性的觉醒是如何表象出来的。这样的文学表象在当时的社会、文化语境中具有何种特征和意义。《味道》通过第一人称“我”的回忆，形塑了“阿泷”这样一位主动寻找身体快乐的女性，她的身体是颠覆和解构了文学表象传统中“被注视”的女性身体的“活着的”身体。同时“我”的性的萌芽与觉醒的过程也在叙述者的娓娓道来中清晰呈现。《离魂》中关于阿久的身体叙事亦是笔致细腻却不繁冗，文本中充满流动的身体感觉和似是而非的隐喻，使文本的解读充满了丰富性和挑战性。作品从“成人仪式”这一角度，将初潮时期少女的身心不安与思春期的性的萌动联系在一起，将处于这一特殊时期的少女的身体前景化，引起读者对这一类“文学身体”的关注。第二章《恋爱的少女》的“恋”与“性”。本章中通过解读短篇集《恋爱的姑娘》引出“未婚女性共同体”这一概念，通过对这些从女子学校（或者是女子大学）毕业后还未结婚的处于悬而未决的延缓偿付时期（「モラトリアム」）的未婚女性共同体的解读，得以了解这些妙龄女子的“恋”与“性”和具体的生存状态，她们又是被怎样的时代意识形态话语所控制或是有所背离的。作品中的女主人公们多数是“爱”、“纯洁”、“美丽”这三种规范教化下的产物，她们在“美丽”的外在标准和“纯洁”的内在尺度这样的权利话语的规约之下，呈现出各异的生态。当然，少女们不仅仅被动地接受了在贤妻良母意识形态编排之下的知识体系。对充满未知的知识世界的涉猎也使她们对主体的疑问开始萌芽，对即成的规范提出思辨性质疑，对于自我表达的欲求日渐强烈。她们身上开始暂露出的“新女性”特征宣告着新的时代即将或者已经到来。《恋爱的少女》体现了作者田村俊子对于“少女”这一明治中后期开始出现的女性成长阶段的关注。在为我们呈现了生活在明治末年大正初期的未婚少女的多样的生存状态，让读者感受到时代变迁的同时，也深刻体认到文学所具有的社会、文化价值。第三章“制度之外的性”。身体是权力的客体，是权力所要关系的核心存在。日本在明治维新之后踏上了近代化的历程，这一过程同时又是国家对国民的身体进行近代化改造的过程。本章中要考察的是在“贤妻良母”、“纯洁”、“异性恋”这些制度话语的规约之下，游弋在主流制度之外的女性的性之存在状态。笔者通过《枸杞子的诱惑》和《生血》这两篇文章，论证了作家如何在其文本之中提出了对“处女”这一制度话语的质疑，并实验性地提出了以身体跨越“处女”规范的可能性。《压迫》和《蛇》这两篇作品则聚焦了作为商品的性的生存样态。在近代，娼妓作为“制度”之外的最低等、最罪恶的存在而彻底地被边缘化和歧视化。田村俊子抛却了劝恶扬善的性道德的说教和思考，从人性视角、超越制度性言说的方式表达了对近代文明的质疑。1910年代至1920年代，直到江户末期都一直很发达的日本的“同性恋”作为一种异端的、变态的性欲之表象被彻底地边缘化并遭到排斥。田村俊子在1911年初发表的《断念》中以大胆的同性恋表象表达了她领先于时代的对女性的性的思考。“同性恋”这一表象，即有承继了日本文化传统的前近代的内容，也包含着对近代过程进行思辨的反近代的性质。也许在两者之间要清晰地画出一条界限这一思考本身就体现了我们深陷近代的二元式思维的牢笼。将文本同时放入同性恋的历史文脉和同时代的言语之中方能认识到这个文本的真正价值。第四章“制度之内的‘生’与‘性’”。“男女两性的相克”是田村俊子文学中的一个重要母题。同时，大正时期又是一个职业女性逐渐登上历史舞台的变革时期，女性开始面临“男女相克”之外的性别身份与社会身份的认同危机。本章中笔者通过分析《女作者》、《她的生活》这两部作品，逼近了在“结婚”、“家”制度之下既为女人、又为作者的人物主体的生存状态。《女作者》揭示了在文学的近代性别构造逐步建构起来、文学的表现形式经历着史无前例的范式转变之际，身为女性写作者在文学这一制度之中发出自己的声音时所经历的艰难和痛苦。“女作者”所面对的是“私”和“公”两个领域对她的性别角色进行限定的双重束缚。《她的生活》一文则在承继一直以来的“男女两性的相克”之主题的基础上，着重塑造了在性别身份和社会身份之间无法进行完整的自我认同的女性形象。说到底，女性保持完整的自我与履行近代家庭中的前妻良母角色是无法实现调和的矛盾双方。这其中，根植的是以“父权”、“夫权”为核心建构起来的近代国民国家的基础单位“家”制度所赖以存在的性别差异构造。更多还原

【Abstract】 Tamura Toshiko, active during the end of Meiji and the Taisho period, is the firstprofessional women writer in Japanese literary world. Her representative worksincluding Desistance, Blood, A Woman Writer，Painted Lips of A Mummy, Her Lifeattracted much attention at the very beginning of publication. At the time when writerimplied the profession of men, Tamura Toshiko, as a women writer, was one of treasurepieces in pantheon, becoming the beloved writer of that time. However, Tamura Toshikowas just like a meteor, fading after the year the1918when she left Japan. Therefore, shewas not narrated in any Japanese literary history until the Collected Works of TamuraToshiko (Book III) compiled by Ariko Kurosawa and Kei Hasegawa Hasegawa fromDecember,1987to May,1988, and then the sealed women writer come back to thereaders’ sight. This paper is to reanalyze the works of Tamura Toshiko, giving herspeech power of deconstruction in traditional literary history, digging the works writtenby the forgotten women writers, constructing the necessary position of female literary.This paper focuses on “the time of Tamura Toshiko”, that is, using “TamuraToshiko” as a name to publish works during the period from1910to1918. This paperfocuses on the period lies in two reasons. Stylistically, it is transitional period form herstyle’s exploration to the cohesion between her speech and text. From the content, shegets rid of the simple and superficialness of her early time works to achieve the stable,abundant, multi-layered and meaningful works. The author is close to the works ofTamura Toshiko from two points. Firstly, Tamura Toshiko expressed the special state offemale through body narrative (writing based on the physical experience of female).Female body is the root to achieve connotation and meaning for Tamura Toshiko’sworks, becoming the main point to express and display self for writers. Secondly, howdid Tamura Toshiko analyze the deep social construction leading to the state that femalewas passive, weak and even fragmentized through the description of the female livingstate both in family and society. This paper intends to illustrate from the introductionand four chapters.In the introduction part, this paper illustrates systematically the studies aboutTamura Toshiko and explores the changes of methodology of Tamura Toshiko literarystudies, raising the problems to be solved and path of study of this paper.In the first chapter, the author describes the “awakening of sex”. In this chapter, theauthor will illustrate growing up and mature of female body, particularly the expressionof sexual awakening in the works of Tamura Toshiko through interpretation herrepresentative works Smell and Soulless, revealing the features and implications of the literary expression of sexual awakening in that period and cultural context. Smellportrayed a woman called “O Taki” looking for physical joy through the recall of thefirst person “I”. Her body, a “living” female body, overturned and deconstructed the“watched female body” in the tradition of literary expression. Meanwhile, the process ofsexual germination and awakening of “I” was also described vividly. Soulless portrayedthe body of a woman called “O Hisa” with exquisite style, filled with smooth feeling ofbody and ambiguous metaphors, leading lots of richness and challenge of text. From thepoint of rite of growing-up, this work combined the physical and mental uneasiness offemale at menarche with sexual germination and awakening at puberty, foregroundingthe bodies of female during this period so as to attract readers’ attention on the “literarybodies”.In the second chapter, the author describes the “love” and “sex” in Maid in love.This chapter introduces the concept of “community of unmarried women” through theinterpretation of Maid in love. The author analyzes the community of unmarried womenat moratorium when they have not been married after graduation from female school (orwomen’s university), revealing love and sex of these women and their living state,illustrating how can they be controlled and betrayed by ideological discourse in thatperiod. Women in the work were born with the cultivation of “love”,“purity” and“beauty”. They presented various living states ruled by the institution of powerdiscourse of the standard of “beauty” and inner criteria of “purity”. However, they alsoexplored the unknown world of knowledge, not just to accept passively the knowledgeof being a good mother and wife so as to geminate the queries to subject and doubtedthe existing institution with critical thinking and increasing eager to self-express. Theyshowed the characteristics of “new women”, declaring that the new time is coming orhas arrived. Maid in love, presenting Tamura Toshiko’ great attentions on the femalegrow up in the middle and end of Meiji period. In this work, from the description ofunmarried women living state at the end of Meiji and the beginning of Taisho, readerscan feel the change of time and realize the social and cultural value of literaturesimultaneously.In the third chapter, the writer describes “sex outside system”. Body is the object ofpower and the core of power. Japan began the process of modernization after MeijiReformation, a modernization process that country reformed citizenship. This chapterstudies the state of female sex living outside main rules of institutional discourses suchas “a good mother and wife”,“purity” and “heterosexuality”. The author proves howdoes the writer doubt the institutional discourse of “virginity” and breaks the rules of“virginity” personally through The temptation of medlar and blood. Pressure and The Snake focused on sex for the purpose of trading. In modern time, prostitute, as the mostinferior and villainous existence, was wholly marginalized and despised. TamuraToshiko abandoned the moral preachment and thought of renouncing evils andadvocating good deeds., expressing her doubts to modernization from the point view ofhumanity and mode of institutional discourse. Japanese “homosexuality”, as a hereticaland abnormal phenomenon, was wholly marginalized and rejected from1910to1920,until the end of the Edo. Tamura Toshiko published Desistance in1911which displayedher thoughts about female sex through bold representation of homosexuality and wasahead of time. The representation of homosexuality both inherited the content of pre-modern in Japanese traditional culture and included the quality of anti-modern. Perhaps,the though that drawing a line between the two points is itself an example of trapping inthe dualistic cage. This paper puts the homosexual history together with contemporarydiscourse to realize the real value of this text.In the forth chapter, the author narrates the “life” and “sex” within the institution.“Contradiction between men and women” is the main theme of Tamura Toshiko’s works.Meanwhile, Taisho period was also a changing time when professional women cameinto being and women began to confront with social identity crisis except for the genderidentity featured with “Contradiction between men and women”. In this chapter, theauthor analyzes A Woman Writer and Her Life, discovering the living state of femalewriters under the institution of “marriage” and “family”. A Woman Writer reveals thedifficult and pains for women writers to speak for themselves during the period whenthe modern gender in literature is being constructed and the forms of literatureundergoing great paradigm shift. A Woman Writer confronts double bind to hercharacter coming from both “public” and “private”. Her Life emphasizes to portray thewomen who can not to achieve whole self-identification between sexual identificationand social identification based on the main theme of “Contradiction between men andwomen”. Above all, women can not reconcile the contradictions between keepingcomplete self and fulfilling the character as a good mother and wife, which is rooted inthe construction of sexual differences in modern country whose cores are “authority offather” and “authority of husband” and that “family” is its basic unit.更多还原