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This paper focuses on the analysis of the physical representations of “non-human husbands” in Yoko Tawada’s “The Bridegroom Was a Dog”(1992), Kyung-a Song’s “My Worm Guy Story”(2005), and Yukiko Motoya’s “Interspecies Marriage Story” (2015). Furthermore, it examines how these representations reflect contemporary views on marriage, gender consciousness, and images of masculinity in modern society. The dog- husband of “The Bridegroom Was a Dog” is set against the backdrop of new cities formed by the real estate development boom. His physical sensations, reminiscent of a large dog, reveal the hidden desires and fantasies of modern individuals for an ancient eroticism that has been forgotten. Thirteen years later, Kyung-a Song introduces the worm-guy in “My Worm Guy Story” who, after being rejected by a human woman, is confined in a tank and sold through a second-hand goods trading website. Unlike the dog-husband, the worm-guy is assigned the role of a caregiver for household chores rather than a sexual partner. The depiction of non-human husbands performing housework in modern fantasy literature highlights contemporary women’s expectations of men. However, the husband in Yukiko Motoya’s “Interspecies Marriage Story,”(2015) who quit his job to become a househusband, found himself unable to find his place either at work or at home, and ultimately turned into a flower and retreated to the mountains. The emergence of the 21st-century plant husband reflects the pressures of modern capitalism and the image of men in an era of low economic growth. In the fantasy novels written by these three female authors, all non-human husbands fail to unite with their female spouses, and over a span of about ten years, their bodies gradually become smaller and weaker. The changing physical representations of these non-human husbands illustrate the image of modern men living as another form of the marginalized in both the home and society.

本稿は、多和田葉子の｢犬婿入り｣(1992),　ソン･ギョンアの｢(나의 우렁총각 이야기(私の田螺婿の話し)｣(2005)、本谷有希子の｢異類婚姻譚｣(2015)を中心に、各小説に現れる異類婿の身体表象を分析し、それが現代社会の結婚観やジェンダー意識、男性像をどのように反映するかを考察したものである。｢犬婿入り｣の犬婿は、不動産開発ブームで形成された新都市を背景に登場する。一匹の大型犬を連想させる彼の身体感覚は、現代人が忘れた古代的エロティシーズムヘの欲望や幻想を現わす。なお、‘犬婿’以来13年ぶりに登場した異類婿は、水のイメージをもった田螺であった。ホームショッピングで購入された田螺婿は、人間女性への求婚が拒絶されたあげく、水槽のなかに閉じ込められたまま中古品取引サイトで売られる。田螺婿に託された役割は性的パートナではなく、もっぱら家事であったのである。現代幻想文学のなかの家事をする異類婿の姿からは、現代女性が男性に期待するものがなにかが読み取れる。しかし、職場をやめ、主婦のしごとに勤む、2015年の｢異類婚姻譚｣の夫は、職場でも、家庭でも居場所を見つからず、山芍藥になって山に移植された。21世紀の植物夫の誕生は、低成長時代を生きる日本男性たちの境遇を現わす。韓･日の女性作家が書いた幻想小説で、すべての異類婿は女性配偶者との結合に失敗する。なおかつ、彼らの身体は10余年の格差をおいてだんだん矮小化する。このように変化する異類婿の身体は、現代社会を生きていく男性たちの厳しい境遇を象徴するかのように思われる。

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