安西冬衛詩集《軍艦茉莉》研究──日本現代主義詩中的性�別與殖民主義

安西冬衛（ANZAI Fuyue）是活躍於二十世紀初的日本的現代主義詩人，當時他曾在日本統治的殖民地都市大連居住過十數年，後來以處女詩集《軍艦茉莉》（1929）中的一行詩〈春〉為世人所知。目前針對其詩的研究不多，而他的詩中富有殖民地的意象，詩中的性�別意象也相當豐沛，值得更進一步之探討。本論文研究他的第一本詩集《軍艦茉莉》，透過他的詩中的關鍵字「相互照應」（correspondence），來爬梳日本象徵詩的脈絡，討論冬衛所受日本詩歌的「縱的傳承」。本論文也分析與詩集同名的散文詩〈軍艦茉莉〉中的意象，並與同樣使用茉莉花意象的蒲原有明(KAMBARA Ariake)的象徵詩〈茉莉花〉相互比較，更進一步分析《軍艦茉莉》所收錄的一行詩〈春〉二首、散文詩〈河口〉、〈民國十五年的園遊會〉等詩。以上述分析為基礎，本論文亦詳細檢視冬衛詩中的標音假名的標法、角色的命名、少女與男性的關係、觀點等問題，發現冬衛詩中有一個男性敘事者「我」，雖然是支配方的日本人，卻無法落實支配的行為，雖是男性卻沒有男性的權威；「我」受到外在環境的壓迫，以至於無法以性�別界線或者國界予以分類，陷入了「離散」（diaspora）的狀態。這樣離散的「我」所敘述出的文字風景繁複、呈現性�別價值觀錯亂的世界，正能反映出殖民地政治權力上的紊亂。

關鍵字

大連；「相互照應」（correspondence）；象徵詩；無力的男性；「離散」（diaspora）；少女；漢字與標音假名；命名；觀看者與被看者

並列摘要

ANZAI Fuyue was a well-known Japanese poet in the early 20th century, living in Dalien (Dairen), one of the cities under Japanese colonial rule, for several decades. He was renowned for the one-phrase poem, "Spring," collected in his first poetic collection, "Gunkan Mari"(1929). To date his poetry is still far from serious examination, particularly its colonial and gender representations. It would therefore be worthwhile to look into these aspects of his works. This thesis will begin with a study his first poetic collection "Gunkan Mari," through the keyword, "correspondence," often appearing in his works written in the Japanese style of symbolic poetry. It will discuss the direct influences Anzai received from the tradition of Japanese poetry. The thesis will then analyze the images in the blank poem, "Gunkan Mari (Warship Jasmine/Mari)", comparing with another poem, "Jasmine," written by KAMBARA Ariake, with similar images about jasmine. It will further examine the two one-phrase poems, "Spring," in the same collection, and the blank poem, "Estuary," "The Carnival in the 15th Year of Min-Guo," among others. Based on the analyses above, the thesis will illuminate how Anzai uses furigana in his poems, the naming of his characters, the relationship between maidens and males, and different perspectives in his works. It will show how the male ego in Anzai's poems tends to be dominant, in reality it is a frustrated one. None of his male character seems unable to practice his male authority, in spite of being a male. As the male ego is so shattered, it can hardly be categorized by gender or defined by national borders. This brings forth the diasporic sentiments in his poetry. The diasporic sentiments and gender representations are profoundly coded in his poetic lines, reflecting the power disorder in colonial politics.