金井美惠子〈兔子〉－雙重感覺的暈眩

金井美惠子曾被評論為：「一貫地將撰寫有關『書寫』這件事作為一個課題」、「強烈地意識著『書寫』的行為本身，脫離了既有的文學潮流，並逐漸建構出其獨特的後設虛構世界」。意即，金井被視為其作品的重點並不在於「寫什麼」，而是將「書寫」的行為本身作為主題的作家。同時，金井本身的發言也證明了這些概念為構成其文學世界的根源。然而，筆者認為正因為已有這些論述，反而使得〈兔子〉中作為前景化的身體性受到了忽略。本論文首先回到被視為金井作品的轉捩點〈文章教室〉，反過來理解〈兔子〉這篇作品。並沿用市川浩等人的哲學理論，探討〈兔子〉中的自戀情結，思考「暈眩」這種單一性的身體感覺如何被呈現在其作品之中。筆者相信透過這些思考，最後能夠連接到金井美惠子關於「書寫」的意識。

關鍵字

身體；鏡像關係；自戀情結；暈眩；書寫的快感

並列摘要

The comments to KANAI Mieko is ”Her consistent theme is to write about writing”, ”The writer KANAI care about writing as act strongly, has been apart from traditional litertatures that has established. She has constructed the meta-fictional world of her own.” From these comments, we can know that she is seen as a writer who lays emphasis on writing itself, not emphasizes to write ”what”. In addition, some of her some remarks also express her strong conscience for writing. Because of these points of view, they missed the foregrounding embodimemt in Rabbit easily., First I look back from her another short story ”Writing Class” in this paper. Second, using the theory of ICHIKAWA Hiroshi, I discuss that how to describe narcissism and ilinx-a single body sense in Rabbit. In the end, I try to link these argument to KANAI's thought of writing as act.