- 著者
- 吉原 万里矢 YOSHIHARA Mariya
- 出版者
- 名古屋大学国語国文学会
- 雑誌
- 名古屋大学国語国文学 (ISSN:04694767)
- 巻号頁・発行日
- vol.113, pp.90-76, 2020-11-10
機械に注目が集まった1930年代前後、人々は人造人間に強い関心を抱いていた。川端康成もまたそうした人々の一人であった。本稿では「青い海黒い海」「針と硝子と霧」「水晶幻想」等の作品において透明化する人間あるいはガラス化する人体の表象を繰り返し描いていることに注目し、身体が白昼夢の中で非人間化し、それがガラスという新しい物質と関連付けられる点に川端独自の問題意識があることを明らかにする。
- 著者
- 吉原 万里矢 Yoshihara Mariya
- 出版者
- 名古屋大学大学院人文学研究科図書・論集委員会
- 雑誌
- 名古屋大学人文学フォーラム (ISSN:24332321)
- 巻号頁・発行日
- vol.3, pp.159-170, 2020-03-31
The image of glass architecture frequently appears in Kitazono Katue’s works of his early career. There are two characteristics of glass architecture in his works. One is that the inherently hard inorganic glass architecture floats like a soft soap bubble covered with a gelatin film. The second is that a human body that is originally organic and soft is transformed into a hard, inorganic robot by being given an image of glass. These expressions are thought to have been produced through the glass architecture of Bauhaus, which Kitazono had been strongly interested in, and the acceptance of new ballet costumes by Oscar Schlemmer and Picasso. In other words, glass plays an important role in the dematerialization or organicization of architecture, and is used as a special metaphor to obscure the boundary of inorganic/organic matter. And the unique feature of Kitazono, such as “silver solid doll” or a robot made of glass, is a metaphor that transcends inorganic matter and organic matter, glass, to the idea of Picasso. According to previous research, a new relationship was established between the huge inorganic object of architecture and the observing subject looking at it in the early Sho wa poet. The expression of the human body that transforms into glass architecture in the poetry of Kitazono is also a variation of the intention to try to cross the boundary between the observation subject and the building in such a contemporary poetry. And the image of the human body changing to glass architecture in the poetry of Kitazono can be seen as an expression of the sensibility common to the contemporary poets who aimed at crossing the boundary between subject and buildings. In other words, Glass in the Kitazono’s works was not only a function to create the world of surrealism as described in previous research, but it was a material necessary for human beings as organisms to cross borders into architecture.