著者

溝渕 園子

出版者

日本比較文学会

雑誌

比較文学 (ISSN:04408039)

巻号頁・発行日

vol.47, pp.102-113, 2005

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<p> In Russian literature, various images of Japanese have been described. These can be divided broadly into two figurative types, the 'musume'(the 'geisha') and the 'samurai' (as 'noble savages' types). These groups have also been frequently represented in other European literatures. However, additional types that have not been conventionally categorized have also appeared. This paper investigates one particular aspect of the images of Japanese represented by Russian writers, by analyzing the popular historical novel, <i>Tri Vozrasta Okini-san (Three Ages of Okini-san)</i>.</p><p> First, by describing the love story in Nagasaki between a Russian navy officer and Japanese 'musume', I analyze Pikul's novel from the point of view of Orientalism (Edward W. Said) and trace the typical formation of Orientalism in the novel.</p><p> Secondly, the historical context will be discussed. The story is set during the period of the Russo-Japanese War of 1904-1905,and the Russian Revolution of 1917. The best-selling novel was published for political purposes in 1981, during the cold war and just following the boycott of the Moscow Olympics. I will examine the political problems involved in the 'samurai' figure in the novel. This paper takes the position that Pikul's novel reconfirmed justifications for dominating Asia, that is, there is evidence of 'Russian Orientalism'.</p><p> In post-Soviet Russian literature, however, we can find images of Japanese that do not conform to historically stereotypical images. The popular detective novel <i>Leviafan (Leviathan)</i> by Bolis Akunin will be used to illustrate indications of changing images, although stereotypical images of 'musume' and 'samurai' do tenaciously remain.</p>