島嶼／語對話：李琴峰小說中的性別與國族

Abstract

台灣出身的小說家李琴峰（1989-），作為一位以日語創作的「非母語書寫者」，作品圍繞與自身相關的女性議題、酷兒論述、語言文化以及國族歷史開展，其第二外語學習與創作的經歷，展現即使中文和日語文化脈絡相接，卻仍存在的差異和溝通困境。作者藉由對語言的反思進一步探索各種跨越國界、文化、性別的「去標籤化」可能，故本論以李琴峰已有中文譯本的《獨舞》、《倒數五秒月牙》、《北極星灑落之夜》與《彼岸花盛開之島》等作為主要討論對象。利用島嶼意象結合性別政治、語言策略與國族寓言等層面，探討其如何透過語言實驗與性少數生命經驗書寫，構築出複數邊界與流動認同的想像空間，揭示性別與身分的複雜性，也提供反思語言、國族與社會制度對個體的宰制與干預的路徑。本論第二章以《獨舞》與《北極星灑落之夜》兩文，如何透過性少數角色的生死經驗、逃避與重構、身分標籤的辯證，以及情感政治的相關刻劃，展現對主流性別與酷兒論述的延伸與反思。特別關注角色的「孤獨」、「死亡」與「改名」等策略，如何同時承載主體重構與情感創傷，同時指出這樣的書寫模式，在處理不同性傾向群體時可能的矛盾與限制。第三章聚焦於語言與性別的交錯操作，從〈倒數五秒月牙〉、〈聖夜絲〉與《彼岸花盛開之島》出發，思考語言如何成為女性與性少數挑戰父權體制、重構主體的工具。其中「女語」與女性觀看的策略，固然開啟對性別秩序的批判與顛覆，但也潛藏重製排除與壓迫的危險，反映李琴峰筆下性別政治內部的張力與侷限。第四章則轉向國族寓言的層面，分析文本如何以語言錯置與島嶼意象打破單一國族的幻覺性敘事。藉由多語書寫與混合語言的創造，小說呈現語言作為文化排斥與認同協商的權力場域，展現其對多元共存與文化交涉的積極想像。島嶼在此不再是封閉孤立之地，而是反覆接收與再生語言、文化與他者的動態場域。綜合上述，李琴峰小說中面對「性別」、「語言」與「國族」等的描摹面向，既展現出當代性別與身分政治的多重角力，也開啟對非典型存在的深刻關照和討論。使得其作雖有多處仍待深究及開展，卻成功構築出一個充滿矛盾、持續協商的敘事空間，讓讀者踏上邊界處，重新思索認同多元的可能樣態。Taiwan-born novelist Li Kotomi (1989–), a “non-native language writer” who creates in Japanese, centers her works on themes of feminine perspectives, queerness, linguistic identity, and national history. Her writing reflects the cultural proximity yet fundamental differences between Chinese and Japanese, revealing persistent challenges in cross-linguistic and cross-cultural communication. By reflecting on language, Li explores the possibilities of “de-labeling” across national, cultural, and gender boundaries. This thesis focuses on gender and nation as key analytical frameworks to examine the interpretive possibilities in her work.It analyzes four texts with available Chinese translations—Solo Dance（『独り舞』）, Five Seconds Till the Crescent Moon（『五つ数えれば三日月が』）, The Night Polaris Falls（『ポラリスが降り注ぐ夜』）, and The Island Where Red Spider Lilies Bloom（『彼岸花が咲く島』）—to investigate how Li constructs a narrative space shaped by fluid identities and contested boundaries. Chapter 2 examines how Solo Dance and The Night Polaris Falls explore queer subjectivity through themes of isolation, death, renaming, and the affective politics of survival. Chapter 3 focuses on the interplay between language and gender, analyzing how Count Five and the Crescent Moon, Christmas Eve Thread（『セイナイト』, a coined term blending “Christmas Eve” and the Japanese word for “thread”）, and The Island Where Red Spider Lilies Bloom use linguistic strategies to challenge patriarchal norms, while also exposing the internal tensions of gendered discourse. Chapter 4 turns to national allegory, highlighting how island imagery and linguistic displacement destabilize fixed notions of cultural and national identity.Synthesizing these findings, this thesis contends that Li’s fiction invites reflection on identity—not as stable or absolute, but as shaped through contradiction, movement, and shared human experience.