- 期刊
從生態批評觀點論述日本原發文學－以3・11為分界論述描繪未來圖像之經典作「鄰家風車」與「不死之島」
Japanese Nuclear Power Plant Literature Read from Eco-Criticism: at the Center of ＂Tonari No Fusha＂ and ＂Fushi No Shima＂ Which is Bordering on 3・11
摘要
探究3・11（2011年3月11日14時46分發生於日本東北地區之「東日本大震災」之簡稱）的發生而使得日本文學的風貌產生如何的改變時，當然3・11之前也須被關注到，然而特別是3・11之後長年建立起核能發電的「安全神話」，一夕間摧毀。鑑此從生態、環境之外，各領域也紛紛展開該相關課題的研究。在此趨勢之下、也常見以「原發」為主題創作的原發文學作品的問世。本論文使用常被當作文學・文化批評理論・方法論沿用之生態批評為依據、主要考察描繪未來圖像之豐田有恒「鄰家風車」（1985）與多和田葉子「不死之島」（2012）兩部經典之作，主要聚焦於與生態・環境間的關係，而釐清了文學作家對原發課題的高度關心與實踐原發文學創作的心路歷程。考察結果顯示：「鄰家風車」（1985）與多和田葉子「不死之島」（2012），形成左右對照鏡般的有趣現象。同時閱讀對比此兩部作品，發現雖然生活在無所匱乏現代文明的社會中，然而勢必正視能源政策的問題，沉著冷靜地抉擇未來的時刻到來。同時不是在「反原發」・「放棄原發」，或者「支持原發」當中做選擇，要以更嚴肅的態度來思考來面對能源政策問題。
並列摘要
By 3・11 (abbreviated name of the Great East Japan Earthquake which happened in the Japanese Tohoku district at 14:46 on March 11, 2011), the ＂safety myth＂ of a nuclear power plant collapses completely and people asks for new Paradigm in ecology, environment and various domains. The nuclear power plant literary works which have created the ＂nuclear power plant＂ to the literary theme is also often seen in such opportunity. In this paper, ＂Fushi no shima＂ (2012) by Yoko Tawada and ＂Tonari no fusha＂ (1985) by Aritsune Toyota which the common feature of drawing a future image is regarded from the viewpoint of eco-criticism about the literature of such post 3・11 are chosen as the text examples. And this research has studied relationship with ecology and environment, and has carried out to following a writer's literary concern and the locus of practice around the nuclear power plant. As a result of considering, ＂Fushi no shima＂ and ＂Tonari no fusha＂ are contrastive. The necessity that the modern society which enjoys the benefit of civilization faces an energy policy problem squarely, and makes decision calmly emerges. Simultaneously, people should cope with the energy policy problem more clearly, without catching ＂anti-nuclear power plant＂-＂nuclear power phase-out＂ or ＂nuclear power plant support＂ in an al ternative attitude as which is opposed to each other.
參考文獻
延伸閱讀
- 曾秋桂（2013）。3．11之後日本文學中的震盪－《即使如此，三月仍舊》中「原發」之課題。台灣日本語文學報，(33)，57-82。https://doi.org/10.6205/jpllat.33.201306.04
- 蕭瑞莆（1999）。從「中界軀體」看後設電影之文化論述策略：以德瑞克．賈曼之《浮世繪》及彼德．格林那威之《建築師之腹》為例。中外文學，27(8)，68-96。https://doi.org/10.6637/CWLQ.1999.27(8).68-96
- 王淑容（2013）。「愛之死」的構圖：三島由紀夫的〈憂國〉、電影《憂國》與華格納的《崔斯坦與伊索德》。音樂研究，(19)，91-115。https://doi.org/10.6244/JOMR.2013.19.04
- 何嘉俊（2016）。論林燿德科幻小說《大日如來》、《時間龍》對日本動漫畫元素的轉化運用。臺灣文學學報，(28)，93-118。https://doi.org/10.30381/BTL.201606_(28).0004
- 謝慧靜（2017）。Research of the home meanings for women’s ocean literature：take “A Taiwanese girl’s marine diary ”、“ Shore”、 “ Kuroshio current”for example.〔碩士論文，國立清華大學〕。華藝線上圖書館。https://www.airitilibrary.com/Article/Detail?DocID=U0016-0401201816075526