桐野夏生『重生』論－被異化的「男性社會性別」敘事者與錯綜的「慾望」．「搾取」

桐野夏生的作品中，經常會以「現代日本中的身體表象」為中心，提出極具刺激性與深度的問題。其中一例，或許能夠舉以東電OL殺人事件為原型的『異常』（2003）吧。對於罹患「厭食症」、打扮花俏、為自己定了娼婦的最低等級價格，而後有一天被發現遭人殺害棄屍的佐藤和惠之形象，精神科醫師．齋藤環表示現代日本許多女性已將「隨時不斷監視著自己身體的視線」予以內化，指出在桐野的『重生』中，描寫著近乎極端的「厭食」與「似乎是要將性無效化、極力加以否認一般」的「賣春」行為，乃是對於身為「女性」之「『性』的否認」、又或「從『戀愛幻想』的逃走」，並且重新探討了位於該「『戀愛幻想』起源」的「家庭」之形態。本論中，將以如此『異常』之相關議論為基礎，針對在該作品三年後所創作的『重生』進行探討。本論中所要探討的是在『重生』中，由兩名男性擔任敘事者的角色，且該兩名男性被形塑為「被異化的男性社會性別」（一人為男同性戀、另一人為男妓）一點，而此似乎也意味著在『異常』中藉由複數女性第一人稱之描述所展開的「男性言說」之龜裂，被以更錯綜之形式加以問題化。「階層格差」與「搾取」等主題也常出現在桐野文學中，而在『再生』中出現了「被異化的男性社會性別」敘事者，圍繞著「搾取」與「慾望」，發展出了更加無法以尋常方法去理解的世界。不僅如此，藉由如此敘事者對於「過去的記憶」的回憶，當其重新面對「家庭崩壞」與「自我否定－自殺（及逃避）」的記憶時，該記憶被逐漸以壓倒性的口吻與敘事者的「異化男性社會性別之身體」重疊在一起。本論中將一邊思考著如此問題，並試圖照亮會讓讀者如同來到「前所未見之世界」的桐野文學世界。

關鍵字

錯綜的「搾取」與「慾望」；「被異化的男性社會性別」敘事者；「前所未見之世界」

並列摘要

Natsuo Kirino often features ”the physical image in Japan today” in his works through the proposal of highly provoking and profound issues. The example of OL Murderer Incidence at Tokyo Electric Power could best exemplify the prototype of ”anomaly (2003).” Psychiatrist Tamaki Saitō identifies the image of Kazue Sato including suffering from ”anorexia” with fancy dressing and pricing herself with the lowest-level of prostitutes, and later discovered killed and corpse abandoned, and reveals that a number of Japanese women have internalized the ”constantly monitoring sight on their bodies.” He also suggests that the ”rebirth” of Natsuo describing a nearly extreme ”anorexia” and the ”prostitution” that ”seemingly invalidates and strongly denies of sex,” is referred to as the ”denial to sex” as women or the ”escape from love fantasy,” in addition to the re-exploration of the ”family” pattern for the origin of ”love fantasy.”This paper will apply the relevant discussions of such ”anomaly” and emphasize on the exploration of ”rebirth” in three years after the work has been created. The paper analyzes the part of ”rebirth” where two males acting as the narrator while the two have been portrayed as the ”alienated social male gender (namely one is homosexual and the other one is manwhore). Such point also seemingly implies the cracks on ”male discourse” unfolded from ”anomaly” through the description on the ”first-person plural of female,” which is further questioned in a more intricate form. Themes such as ”hierarchic difference” and ”extraction” often appear in the literature by Kirino, while the ”alienated social male gender” narrator featured in ”rebirth” circling around ”extraction” and ”desire” is developed with an incomprehensible world via normal method. Not only so, when the narrator re-confronts his memories on ”family collapse” and ”self-denial-suicide (and escape)” with ”past memory,” that memory will gradually and overwhelmingly overlap with the narrator's ”body of alienated social male gender.”The will take such issues into consideration while attempting to highlight the ”Unprecedented World” of Kirino's literary world for the readers.