從漱石的初期小說中探討「時代新女性」形象－女主角們命運之側寫－

大家都知道漱石尤其擅長描寫男性，自最早的《我是貓》、《少爺》為首，絕大部分的作品皆以男性為故事主角，透徹地剖析男性主角的內心世界。然而，在《草枕》或《虞美人草》等的初期作品之中，難得一見的漱石對女性大大地做了一番特寫。在漱石這幾部以描寫女性為中心的作品當中，令人印象最深刻的相信大家都會舉出《草枕》中的那美、《虞美人草》的藤尾以及《三四郎》中的美禰子等角色吧！這些女性角色都被塑造成嘗試在明治社會中堅強地生存、讓作品中的男性們感到迷惘、不知所措的形象。除了上述這些女主角之外，《之後》這部作品當中代助心儀的對象三千代的「時代新女性」地位，也不容忽視。本論文主旨以探討《草枕》的那美、《虞美人草》的藤尾、《三四郎》中的美禰子以及《之後》的三千代等幾位「時代新女性」的人生態度為主，進而釐清活在明治時代中之「時代新女性」形象。

關鍵字

漱石；男性；「時代新女性」；明治社會；命運

並列摘要

It is widely known that Souseki is especially good at depicting male characters. From his earliest works such as”Wagahaiwa neko dearu”and ”Bocchann”, we see how Souseki penetrates into and analyzes the inner world of the male protagonists to perfection. However, very rarely and surprisingly, in his other early works such as ”Kusamakura” and ”Gubijinsou”, we see him also describe female characters in great length.What impress the readers most in these works, as everyone may agree, are Nami in ”Kusamakura”, Fuzio in ”Gubijinnsou”, and Mineko in ”Sanshirou”. These women are portrayed as being persevering in their attempts to stand up and to live on in Meizi Period, thus making men around perplexed and lost. Among others, what also deserves our attention is that Michiyo, on whom Daisuke has a crush in ”Sorekara”, epitomized the concept of a woman living in old times but with modern points of view. (”New Age Woman”)In this thesis, I am going to make clear the concept of women with modern prospects in Meizi period by probing into the female characters as follows: Nami in ”Kusamakura”, Fuzio in ”Gubizinnsou”, Mineko in ”Sanshirou”, and Michiyo in ”Sorekara”.