著者

池田 智恵

出版者

関西大学

雑誌

東アジア文化交渉研究 (ISSN:18827748)

巻号頁・発行日

vol.5, pp.225-237, 2012-02-01

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At the end of the Qing period, there was a boom in the translation of mystery novels; however, the writing of mystery novels by Chinese authors did not become popular until the 1920s. Beginning in the late 1910s, mystery-writing contests were announced in the newspaper readers' columns, and many of the submissions resemble the earlier translated works all being set in overseas locations. At the same time, Chinesenewspapers were overfl owing with reader submissions, known as "black curtain" articles, that disclosed the darker side of society, that were extremely popular. With the appearance of mystery novels, it was believed that imagination was necessary for the appreciation of the newspaper article as a form of entertainment. In the 1910s, however, the writing of mysteries and "black curtain" articles had yet to fuse, but in analyzing the works of the 1920s, it is possible to discern that they were written based on the imagination used for the "black curtain" articles. From this point, "black curtain" article and mysteries fuse, and mystery novels that problematise China begin to be produced.

著者

池田 智恵

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

vol.16, pp.3-17, 2023-03-31

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Lin Shuhua (林淑華) is best known as the author of "Shengsilian (生死恋)" (1948). It is an autobiographical work by Lin and was serialized in the magazine "Kangli Monthly" at the end of the 1940s and was quite popular at that time. This article considers the creative activity of Lin Shuhua in relation to the magazine "Kangli Monthly" and its readers. In "Kangli Monthly", Lin Shuhua first appeared as a contributor, then as the author of "Shengsilian", and then as the host of "Kangli Xinxiang (伉儷信箱)", a column of readers' contributions, in which she sincerely answered the serious problems of life of the readers. This mutual relationship with readers also influenced Lin's creative activities. In the "Shengsilian" and "Zhufu zhi you (主婦之友)" she uses for example a letter style and a "call to someone", which are common in "Kangli Monthly," and this gave them a structure that facilitated the sympathy of readers.

著者

池田 智恵

出版者

早稻田大學中國文學會

雑誌

中國文學研究 (ISSN:03850919)

巻号頁・発行日

vol.31, pp.97-114, 2005-12-31

著者

池田 智恵

出版者

関西大学文化交渉学教育研究拠点(ICIS)

雑誌

東アジア文化交渉研究 (ISSN:18827748)

巻号頁・発行日

no.4, pp.253-271, 2011-03

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From the Sino-Japanese perspective, the mystery novel is an import, and something that arrived from the West. In both countries, with translation, the mystery novel became extremely popular, and in the 1920s, attempts were made at creating indigenous mysteries. Periodicals devoted to mysteries began to be published: in China, Zhentan shijie 偵探世界, Banyue 半月, and Ziluolan 紫羅蘭, and in Japan, Shinseinen 新青年. This paper explores the reception phases of the mystery novel through an examination of the readers' submissions published in these various magazines. In comparing the creative conditions of the two countries, Japan succeeded in developing younger writers through literary awards, while in China, the authors never succeeded in mastering the structure of the mystery novel, and were troubled with the production of this new literary genre. The authors who never conquered the "modern novel" become distinct.

著者

池田 智恵

出版者

関西大学文化交渉学教育研究拠点(ICIS)

雑誌

東アジア文化交渉研究 = Journal of East Asian Cultural Interaction Studies (ISSN:18827748)

巻号頁・発行日

vol.5, pp.225-237, 2012-02-01

---

At the end of the Qing period, there was a boom in the translation of mystery novels; however, the writing of mystery novels by Chinese authors did not become popular until the 1920s. Beginning in the late 1910s, mystery-writing contests were announced in the newspaper readers’ columns, and many of the submissions resemble the earlier translated works all being set in overseas locations. At the same time, Chinesenewspapers were overfl owing with reader submissions, known as “black curtain” articles, that disclosed the darker side of society, that were extremely popular. With the appearance of mystery novels, it was believed that imagination was necessary for the appreciation of the newspaper article as a form of entertainment. In the 1910s, however, the writing of mysteries and “black curtain” articles had yet to fuse, but in analyzing the works of the 1920s, it is possible to discern that they were written based on the imagination used for the “black curtain” articles. From this point, “black curtain” article and mysteries fuse, and mystery novels that problematise China begin to be produced.

著者

池田 智恵

出版者

早稲田大学

雑誌

特別研究員奨励費

巻号頁・発行日

2008

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先年の研究により、翻訳を介して清末に中国へと流入した探偵小説が、中国人の手により創作きれるようになっていくのは、1917年前後であることが明らかになった。より詳しく中国において、いかに探偵小説が創作されるようになったのか、作者がいかなるものを「想像」して探偵小説を「創造」しようとしたかを明らかにすることにより、中国が外来のものをいかに「中国化」するかを解明することができ、これにより中国の近代化の一端を明らかにする意義があると思われる。当初、その解明の方法として1910年代末におけるエドガー・アラン・ポーやシャーロック・ホームズの受容を考える予定であったが、5月9日には台湾淡江大学にて、6月12日には上海において、1917年当時の中国における創作探偵小説の状況について発表し、研究者と討論を行ったところ、1910年代末に近代中国に流行した「黒幕」の存在が浮かび上がってきた。「黒幕」とは、1916年に『時事新報』の読者投稿として成り立ったコーナーであり、犯罪や犯罪に類するものを「暴露」するものであった。これは大ブームとなりその後「黒幕小説」というジャンルを生んでいく。この犯罪を題材とするという点で探偵小説と共通する「黒幕」が、探偵小説といかなる関係があるかを明らかにすることは、探偵小説の発生を考える上で大変大きな意味があると考え、夏季に上海にて『時事新報』の「黒幕」の全掲載状況を調査した。その結果、中国近代の1910年代末において、自国の犯罪を読み物とする「黒幕」が流行りながらも、探偵小説は「外国もの」を描くことを好んでいたことが明らかはなってきた。つまり、探偵小説はあくまでも「舶来」として創作されるのであって、それがなかなか本土化していかないという中国探偵小説の大きな特徴が明らかになった。これに基づき、10月に日本中国学会、2月に関西大学で学術発表を行った。