Reading ANZAI Fuyue’s “Gunkan Mari”: Gender and Colonialism in the Japanese Modernist Poetry
Ling-Chun Liu, Ariel
|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;Dalien (Dairen);Correspondence;Symbolic Poetry;Impotent Males;Diaspora;Maiden;Kanji and Furigana;Naming;Gazers and the Gazed||公開日期:||2011||摘要:||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。
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.
在 IR 系統中的文件，除了特別指名其著作權條款之外，均受到著作權保護，並且保留所有的權利。