芥川龍之介於昭和2 年（1927.7.24）在東京田端自宅以安眠藥自 殺身亡，意味著一個文藝創作者「實踐自我破壞的藝術」行為，被解 釋為象徵時代苦悶的思想性自殺行為。他晚年遺作〈齒輪〉文本特徵 所透露出的訊息是，作者「我」的自我定位的不確定感與自我表達方 式的問題。「我是誰？」──這個疑問與恐怖情緒瀰漫在字裡行間。 它延伸出與「他者」的「觀看」與「被窺視」所交錯出來的幻覺與不 安、猜疑等精神耗弱現象。是否我「臨終的眼神」看得太多太透徹的 緣故嗎？究竟「我」與環繞「我」的這個世界與「他者」，如何界定 彼此的距離與關係？ 本論文的研究方法，試圖考察芥川晚年作品自我意識的執著在與 視覺上的「他者」意象的交錯中，是如何獲得「客體化」的自我表達 與現實認知？又如何在其過程中延伸出異樣的「模糊的不安」（ぼん やりとした不安）？以解釋〈齒輪〉中的視覺喪失與幻聽中的自我與 他者形象的錯亂現象。

Taking sleeping pills to end his life at his home in Tabata, Tokyo in Year Two of Showa (July 24, 1927), Ryunosuke Akutagawa could be said to be practicing “the art of self destruction.” His suicide was considered a conceptual one symbolic of the angst of his time. His posthumous work, “A Cogwheel,” revealed two key messages, the uncertainty about self identity and the problem of self expression. The question of “Who am I?” and horrors permeated the whole piece. Instances of illusion, uneasiness, doubt, and mental disability occurred throughout in the interweaving of “peeping” and “being peeped at” by the “other.” Was that because the writer had seen too much and too clearly with the “final gaze from the deathbed”? How can “I” define my distance and relationship to the “other”? This article investigates how the self in Akutagawa Ryunosuke’s late works acquired its “objective” expression and practical recognition amidst the fixation of self consciousness and images of the “other”; as well as how the odd “subtle uneasiness” (ぼんやりとした不安) came about during the process. Through these, I try to explain the phenomena of the loss of vision and acousma in “A Cogwheel” and the entanglement of the lines of vision between self and other.