本論文主要是分析311 之後刊行的日本文學作品之一的多和田葉子《獻燈使》(2014.10 講談社出版)。鎖定於作品中描繪之震災状況以及作者多和田葉子為何311 發生之後一路持續不懈致力於震災主題描寫之意圖。分析手法是依據生態批評主義中常被沿用之「環境思想中從以人類為中心主義轉移至以環境為中心之主義」、「以人類為中心主義之解體與環境為中心主義」主張為論述之骨幹，嘗試依此當作後311 時代所需之環境為中心主義之觀點來分析文本《獻燈使》。並從中探索作者多和田葉子對於震災．核災議題的關心以及將之實踐於文學作品的理念。業經考察所得出的結果顯示：作者勾勒暴露於輻射之下的日本島國的近未來的悲慘命運，是繼「不死之島」問世之後維持一貫關注核災議題的延伸。作者希望透過書寫核災呼籲日本國民意識到日本正面臨著嚴峻議題考驗的局面，才完成此寓言式《獻燈使》的創作。寓言式《獻燈使》的閱讀方式之外，還必須能窺得出作者的用意在於昭告世人：若不藉由正視環境課題而進行近代人類為中心主義的解構，當今人類所處的現代文明社會不免難逃因環境激烈變化而招致生存滅亡的浩劫危機

This articl analyzed the situation of the earthquake disaster drawn on Tawada Yoko ＂Kentoushi＂ as post 311 literary works. This paper solves author Tawada Yoko's intention. This study performed the decipherment from a transition to the environmental center principle which is a main concept of eco-criticism from the human center principle in environmental thought, a demolition of a human center principle, and an environmental center principle. As a result of considering, Tawada Yoko who tries to draw the near future figure in Japan exposed to radiation has finished writing a series of allegory works by drawing a nuclear power plant disaster. ＂Kentoushi＂ has appealed against demolition of the human center principle by a principle of the deconstruction by an environmental problem. And this work will be suggested that it is difficult for the contemporary civilization society in the crisis ruined by environmental upheaval to see the future