比較文学
Online ISSN : 2189-6844
Print ISSN : 0440-8039
ISSN-L : 0440-8039
53 巻
選択された号の論文の20件中1~20を表示しています
論文
  • ――『無垢と経験の歌』の変奏曲――
    佐藤 光
    2010 年 53 巻 p. 7-20
    発行日: 2010/03/31
    公開日: 2017/06/17
    ジャーナル フリー

     It is now accepted that Blake's Songs of Innocence and of Experience represents the ‘two contrary states of the human soul' in terms of a dualistic system of Innocence and Experience. When Japanese poets began to write under the influences of Blake in the 1900s, however, they often gathered only rhetoric and motifs from Blake's poems, showing little interest in his philosophy of contraries.

     An example is to be seen in ‘Yameru Sobi' or ‘The Sick Rose'(1908, collected in Haien or The Deserted Garden in 1909) written by MIKI Rofu (1889-1964), a Japanese poet of symbolism who was inspired by Arthur Symons and W. B. Yeats as well as Paul Verlaine and Charles Baudelaire. Saying that ‘a symbol is a window of a soul' and that ‘the best poet is a seer of eternity', MIKI Rofu explored for something immortal through his poetry but, unlike William Blake (1757-1827), he finally found spiritual ease by working in a Trappist monastery in Hokkaido and lived a Catholic life after he returned to Tokyo in 1924.

     It is most likely that Blake was introduced to Japan and disintegrated through two different channels: people of literature and those of philosophy. This essay discusses the relationship between Blake and MIKI Rofu, a case study of the former channel.

  • 王 蘭
    2010 年 53 巻 p. 21-32
    発行日: 2010/03/31
    公開日: 2017/06/17
    ジャーナル フリー

     Widely regarded as a pioneering work of Japanese Folklore, The Legends of Tono was published in 1910 by Kunio Yanagita (1875-1962). The book received little attention at the time and only 350 copies were printed, but a copy was purchased by Zhou Zuoren(1885- 1967). Zhou's possession of this rare original print surprised modern day Japanese Folklore scholars as it suggests that Zhou had a vision that was far ahead of his Japanese peers.

     This essay seeks the origin of Zhou Zuoren's progressive vision by investigating the works that influenced him prior to 1910. This paper will show that Zhou's early folklore scholarship was influenced by two sources. First, he was exposed to Western academics, which gave him a significant understanding of anthropology and folklore studies. Also, his “Guoxue” (traditional Chinese culture studies) advisor, Zhang Taiyan, instilled in Zhou the idea that attention should be paid to lives of ordinary people. The two influences bestowed upon Zhou a surprising understanding of The Legends of Tono.

  • ―日本文学とアイルランド文学の相互交渉―
    鈴木 暁世
    2011 年 53 巻 p. 33-48
    発行日: 2011/03/30
    公開日: 2017/06/17
    ジャーナル フリー

     The early Taisho era witnessed an intensification of the movement for the introduction, translation and popularization of the literature published during the Irish Renaissance, through the efforts of Ryunosuke Akutagawa, Kan Kikuchi, Yaso Saijo, and other writers. For example, Kan Kikuchi's early plays were influenced by J.M. Synge. He focused on the expressions of the Irish independence movement from Britain in literature, in connection to his intention to lay the foundations of “Kyoto Renaissance”; this movement had “Kyoto as Dublin” as its slogan, and was aiming to counter the “literary centralization” in Tokyo.

     This led Yeats to acclaim Kan Kikuchi. The acceptance of Kan Kikuchi in Ireland is evident from the high praise he received for Tojuro's Love and Four Other Plays (1926), translated into English by Glenn W. Shaw. Yeats, who was particularly impressed with The Housetop Madman (one of the plays translated), presented this play at the Abbey Theatre (Dublin Drama League). Yeats perceived Kan Kikuchi as “a playwright who writes dramas marked by national or racial traits”, and called him the Synge of Japan. Since Kikuchi himself had pointed out the similarities between The Housetop Madman (1916) and Synge's The Well of the Saints (1905), Yeats' observation is further proof of his deep understanding of Kikuchi's literature. This article attempts to clarify an aspect of the reciprocal influence between Japanese literature and Irish literature, i.e., Kan Kikuchi's reception of Synge and Yeats's acceptance of Kikuchi, through analyzing specific documents from both countries.

  • ―主人公イングマルとオデュッセウス、オーディン、ロキ、ユダとの比較―
    中丸 禎子
    2010 年 53 巻 p. 49-61
    発行日: 2010/03/31
    公開日: 2017/06/17
    ジャーナル フリー

     This thesis deals with Jerusalem, one of the masterworks of the Swedish novelist Selma Lagerlöf. I emphasize the following two points. (1) Ingmar Ingmarsson, the protagonist, embodies the Swedish national identity and plays a role that approves Swedish nationalism and German racism, in spite of the pastoral imagery associated with Lagerlöf and the Nordic countries. (2) Ingmar, however, is marginal and has the potential to deviate from the frame of nationalism and racism.

     I first explain that Ingmar being a farmer coincides with the national identity of Sweden as an agricultural country.

     Then, I point out Ingmar’s marginal side. Ingmar is an ugly man with red hair, in contrast to the ‘Aryan’ from Scandinavia with golden hair. Ingmar always travels fast, and loses one of his eyes in the end of the story, while the ‘healthy’ farmer, as a national identity, settles down. Ingmar’s characteristics are reminiscent of Odysseus’ wandering, Odin with only one eye, and Loki and Judas with red hair. For Europeans, these four persons have a common image.

     Last, I consider the meaning of these common characteristics. The above four persons are both destroyers and creators; in other words, are marginal. In contrast to nationalistic, racist authors, Lagerlöf describes a marginal protagonist as having two contrary sides like these four persons. This means that Lagerlöf’s work has the potential to transcend the frame of modern national literature.

  • ――タヒチから日本へ――
    カバ・加藤 メレキ
    2010 年 53 巻 p. 62-75
    発行日: 2010/03/31
    公開日: 2017/06/17
    ジャーナル フリー

     The French writer Pierre Loti (1850-1923) wrote more than 40 books and several other articles during his career as a naval officer which gave him the opportunity of travelling all around the world. Loti's works also comprise a few pieces of writing about people of China and Japan.

     This paper aims to analyze Loti's descriptions of Japanese and Chinese people. The main keyword to perform this analysis will be the “Yellow Race”.

     I will start with the analysis of the Chinese merchants and laborers described in Le Mariage de Loti (1880), which shows us how Loti was nervous about Chinese population resided in The French Polynesia. In this process, the study will reveal how the commercial activities of Chinese in Tahiti is imagined as potential sexual aggression to Tahitian women in Loti's discourse.

     Next, I will discuss Loti's depiction of Chinese embassy invited to Rokumeikan . Here, Loti perceives that there was a racial, cultural and political closeness between Chinese and Japanese, which made him anxious and fearful.

     Pierre Loti's works on Japan, such as Madame Chrysanthème (1887) and Un Bal à Yeddo (1889) have been criticized how Loti portrays Japan and Japanese people as a childish or uncivilized. Until now, his discriminatory gaze was the main focus of the researches.

     In Les Femmes Japonaises (1891), however, Loti seems to be fearful of Japanese-Chinese imperial alliance rather than simply despise them as “savage” people. The notion of Yellow Peril became popular around 1894. This paper is going to explore a new aspect of Loti's works that shows his fear for modernizing “Yellow races,” and suggest that his anxiety is connected with the Yellow Peril in embryonic phase.

  • ―「政治と性」の淵源としてのオーデン―
    高橋 由貴
    2011 年 53 巻 p. 76-89
    発行日: 2011/03/30
    公開日: 2017/06/17
    ジャーナル フリー

     Ōe Kenzaburō frequently mentions how deeply he has been influenced by Fukase Motohiro’s translation of W. H. Auden’s Collected Shorter Poems. Previous studies, however, have not adequately examined the contribution these poems have made to the style of Ōe’s novels. The present study addresses the impact of Auden’s poetic language on Ōe’s early career as a writer. Fukase defines the inseparable unity of political and psychological concerns as the central element of Auden’s poetry. He emphasizes that Auden’s language is characterized by a metaphysical style taken from T. S. Eliot and by the sexually explicit language of D. H. Lawrence. Ōe seems to understand Auden’s works in the same manner. Yet, unlike Fukase, Ōe gives privileged status to the poem “Leap Before You Look.” He especially values the way its description alternates between political and psychological senses, and this original interpretation of the dual structure of Auden’s poetry he applies to postwar Japan. This study examines Auden’s influence on what Ōe calls the “politics and sex” in his own novels, with particular attention to how his important early novel Shiiku (Prize Stock) is indebted to Auden’s techniques of expression.

  • 堀 啓子
    2011 年 53 巻 p. 90-104
    発行日: 2011/03/30
    公開日: 2017/06/17
    ジャーナル フリー

     This study identifies the original novel from which Kien, a Japanese play written about a century ago, was adapted. It also sheds light on how the play was modified and examines the essence of the story by comparing both the American original and the Japanese adaptation.

     Kien (A Strange Fate) was published in 1915 by Oguri Fuyo. Although the play's preface indicates that Kien is an adaptation from a work by Charlotte Brame, it does not make a reference to its original title.

     Extensive research of Brame's works at the University of Minnesota libraries has revealed that her book titled Two Kisses closely resembles the storyline in Kien, suggesting that it was the one that inspired Oguri Fuyo to write his play.

     Brame's novels were quite popular in the end of the 19th century not only in the West but also in Japan. That prompted several Japanese authors to adapt her works by simply changing the characters of the original heroines to more modest ones in order to conform to Japanese tastes.

     Fuyo, on the other hand, did the opposite. In his play he paints a more dynamic, independent and strong-willed heroine than Brame does in her original work. This change introduces a new type of heroine to the Japanese public and makes Kien more attractive and easier to follow.

     Kien didn't leave a permanent mark on Japanese literature, but the influence it had on later works of Japanese authors should be explored.

  • ―ワイルダーと玉堂をめぐって―
    岩津 航
    2011 年 53 巻 p. 105-115
    発行日: 2011/03/30
    公開日: 2017/06/17
    ジャーナル フリー

     Dans le dernier roman de Fukunaga Takehiko (1918-1979), L'île de la mort (1971), le héros, Sôma Kanae, futur romancier, se recommande deux fois de l'œuvre de Thornton Wilder, The Bridge of San Luis Rey (1927). La dernière phrase de celle-ci correspond curieusement à la conclusion que se donne Sôma: « Il y a le pays des vivants et le pays des morts, et l'amour est le pont». À partir de ce constat, cet article développe la thématique du pont dans L'île de la mort, en particulier à la lumière de la mythologie. Une autre évocation du pont est faite par la peintre Motoko qui se réfère à la peinture d'Urakami Gyokudô (1745-1820). On y trouve souvent un personnage traversant le pont, vers le dehors du tableau. Il semble incarner le passage à la mort. Motoko, victime d'Hiroshima, se donne la tâche de représenter la mort dans son âme. Il lui faudrait désormais aller vivante au pays des morts. Jeter un pont (qu'est l'amour) serait une solution. Motoko échoue cependant ; elle se suicide et s'embarque elle-même dans la barque de Charon. C'est Sôma qui se décide, vivant, à écrire à la recherche des morts, à la manière d'Orphée. L'opposition barque/pont souligne ainsi le parti pris par Sôma-Orphée. Le pont, moins visible que la barque dans le roman, fonctionne de façon suggestive comme métaphore de l'écriture, de l'amour, du chant d'Orphée. Il fait partie, secrètement, de la structure mythologique de ce roman du deuil.

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