著者

北條 文緒

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.51, pp.61-78, 1990

---

This essay traces how the theme of time travel has unfolded in English children's novels of this century. I have chosen to examine some examples which particularly deal with the theme from a moral point of view, trying to bring into harmony the two worlds, the present and the past, and to show readers their location in the continuity of history. They are Frances Hodgson Burnett, The Secret Garden, Alison Uttley, A Traveller in Time, Lucy Boston, The Children of Green Knowe, Phllipa Pearce, Tom's Midnight Garden, and some books for children by Penelope Lively. Before considering each work, I offer a brief survey of the background against which the time travel motif in children's literature should be considered. One feature is picked out for special attention: in the transition from Victorian to Edwardian literature it may be observed that the Victorian sense of the solidity of the visible world is encroached on by a sense of the unseen, the sense of another world which exists outside time. I also point out that in some stories the 'other world' is the world of the past, a world which no longer exists but proves nonetheless to be as real as the actual world. In the discussion of the books mentioned above, my points are as follows: The Secret Garden, though it has no claim to be considered in the context of this discussion, is noteworthy, because in this story all the devices, or settings, of those stories of time fantasy written more or less with moral intent are present; the juxtaposition of two worlds so different from each other that people recognize the people from the other world as ghosts; the physical or emotional isolation of the children who are the main characters; the experience of gaining strength and maturity through meeting and developing an intimacy with people from the past; various objects which have survived from the past telling them that the past was certainly there; and finally the mother figure who has a close relation to the world of the past and who serves as a mentor and protector of the children. In A Traveller in Time and The Children of Green Knowe, picturesque and poetic images of the people of far-gone times are beautifully created, but nostalgic longing for the past (though it is an understandable impulse at the time when England was going through various kinds of transformation) is too strong in the authors so that, despite the fact that the children finally come back to the present-day world and take their place in it, our overall impression is that the children remain suspended between the two worlds with their hearts still on the shadowy figures of the other world. It must also be noted that in these books the children are not simply ghosts in the eye of the people of the 'other world'; they acquire their own identity by becoming one with somebody from that world. Tom's Midnight Garden introduces a new aspect by dealing with the nearer past, which still remains in the memory of some living people; the Victorian garden where Tom plays with Hatty is the world of Hatty's memory into which Tom is admitted. However, if Hatty and Tom meet in her dream, which is her memory, why is it that Tom, when he gets back to his own time, finds under the floor of his room a pair of Hatty's skates with Hatty's note saying she is leaving them to the boy whom she once met? Tom brings the skates back to the other world, and the two of them skate side by side, each wearing the identical shoes. This use of the two pair of skates has often been criticised as a flaw in this almost flawless masterpiece. My argument is that the pair of skates which has broken through, as it were, the wall dividing the timecontrolled and the timeless worlds might be regarded as an objective correlative of the intensity of Hatty's memory. The two pairs of skates stand for the independent identities of Hatty and Tom, ensuring Tom's firm footing in his own world while leaving him something solid by which to remember to the bliss of his midnight garden. The essay ends by making a brief survey of the books for children by Penelope Lively, who in her constant return to the theme of the past and the present is the most obvious successor of the above-mentioned children's novelists. It illustrates how such books as The Driftway, The House in Norham Gardens and A Stitch in Time embody her message that, while it is only through personal memory that we have authentic access to the past, we nonetheless must live in history accomodating all changes. The argument concludes by considering how the traditional devices established in The Secret Garden have been handed down, modified and transformed, right through to the present day novels for children.

著者

松川 成夫

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.13, pp.1-20, 1962-06

著者

斉藤 慎一 李 津娥 有馬 明恵 向田 久美子 日吉 昭彦

出版者

東京女子大学比較文化研究所

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.71, pp.1-32, 2010

---

The Hanryu boom-strong interest in South Korean pop culture-has been rapidly expanding in many Asian countries since the late 1990s. Several years later, Japan was also witness to the Hanryu boom. The boom in Japan further advanced owing to the popular Korean soap opera "Winter Sonata,"which was first broadcast on NHK in 2003. Gradually, since the media attention decreased, the Korean craze died down in the past few years; however,the popularity of South Korean pop culture seems to have a strong hold in Japan.This study examines how people evaluated the Hanryu boom and whether the increased popularity of South Korean pop culture contributed to improvement in the Japanese perceptions of and attitudes toward South Korea.To address these research questions, we conducted a sampling survey from November to December 2006. One thousand Tokyo residents aged between 20 and 74 years were randomly selected from a Tokyo poll-book that listed all electorates. Each resident was sent a questionnaire by mail; 367 effective questionnaires were returned.Results show that respondents made relatively balanced judgments regarding the Hanryu boom. While many respondents thought that the Hanryu boom contributed to improvement in the relations between Japan and South Korea and advanced cultural exchange between the two countries, they also regarded the boom to have certain negative aspects. More than 60% of the respondents felt that the Japanese media reported the Hanryu boom in an exaggerated manner, and about 20% said that it put unresolved political issues, such as different historical perceptions between the two countries, on the backburner.The results reveal that many respondents still consider South Korea as a closed and traditional society, although they also regard it as an economic power. With regard to the influence of the Hanryu boom, the data shows that about 36% of the viewers of Korean TV dramas/movies developed a more positive perception of Korea.In addition, a multiple regression analysisindicates that women, highly educated individuals, and heavy viewers of Korean TV dramas/movies were more likely to have a better percetion of Koreans.The data also demonstrates that while about 40% of the respondents perceived the current Japan-Korea relations to be relatively good, the remaining thought otherwise (about 60% regarded them as poor). A multiple regression analysis indicates that although demographic variables do not show significant associations with the perception of the Japan-Korea relations, those who favored the Hanryu boom and highly evaluated former Prime Minister Junichiro Koizumi's foreign policies were more likely to consider the relations between the two countries to be good. In addition, the data from an open-ended question indicates that the respondents who judged the Japan-Korea relations to be good tended to do so mainly based on the augmented exchange of popular culture in recent years, while those who regarded the relations as poor were more likely to base their judgment on unsettled political or historical issues.

著者

溝口 昭子

出版者

東京女子大学比較文化研究所

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.79, pp.29-47, 2018

---

For Sol Plaatje, who was originally a South African colonial elite of Tswana origin and later became a renowned nationalist, journalist and writer, William Shakespeare’s plays at first represented the colonizer’s culture to which African people were expected to assimilate themselves in order to prove that they were worthy of equal rights guaranteed to men of any race with education and income in the late nineteenth-century Cape Colony. Yet later he also became aware of the polyphonic nature of the texts and made use of it in order to criticize especially the Union of South Africa, which came into being as a selfgoverning dominion in 1910 and was consolidating itself towards an apartheid nation.Plaatje translated several plays by Shakespeare into Setswana, and Diphosho-Phosho (1930), which is a translation of The Comedy of Errors, is the only surviving translation. This paper discusses Plaatje’s politics in his translating The Comedy of Errors, a play which is part of the British literary canon and involved some subversive message when appropriately utilized, into his language which, with no unified orthography, he felt was in danger of perishing. The first chapter will discuss how his translation was part of his struggle against the“white specialists on African languages”to preserve his language and culture in a written form. The second chapter will discuss how he, through hisSetswana translation which involved some alteration of the original, attempted to conveypolitical messages to his contemporaries who were struggling under the white regime.

著者

針原 素子

出版者

東京女子大学比較文化研究所

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.80, pp.1-13, 2019

---

Does the experience of connecting with strangers make us happy? To answer this question, Epley & Schroeder (2014) instructed American commuters on trains and buses to have a conversation with a stranger, to remain disconnected, or to commute as normal. They showed that participants reported a more positive experience when they connected with strangers than when they did not.Given some cross-cultural evidence that Japanese people are less likely to interact with strangers than Americans (e.g., Patterson et al., 2007), this study aims to investigate whether the consequence of connecting with strangers is the same in Japan as in the U.S.We instructed Japanese university students to connect with strangers during their commute (connection condition), to remain disconnected (solitude condition), or to commute as normal (control condition). The results showed that participants in the connection condition experienced a relatively more positive mood than those in the other conditions, but the difference was not significant. Further analyses showed that the more responses the participants received from others when they talked to them, the more positive a mood they experienced.The results indicate that the Japanese often fail to have positive interactions with strangers due to their implicit norm that they should not disturb others, but they also have positive experiences when they are successfully able to interact.

著者

白石 喜彦

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.44, pp.24-36, 1983

---

When YASUDA Yojuro entered into literary world with the publishment of a literary coterie magazine, Cogito, he was concerned with literary criticism, theory of writing and its practice. It was his belief that he should cultivate his literary mind in these three fields at the same time. After publishing Nihon Roman Ha (so-called Japanese Romanticism), however, he devoted himself only to criticism and established himself asacritic. The theme of this paper is, then, how the three fields were related to each other when he entered into literary world, and why the theory and the practice of writing came to a cessation. YASUDA's criterion of literary criticism had something to do with the enjoyment of literary qualities, that is, identity of aesthetics. It was an antithesis to the Marxism theory of literature in which people criticized literary works according to the external criterion, not the internal one. He wrote a few novels practising his own theory, but they were not more than just a practice in writing. However, it was these novels, which were far from what is called a novel, that his own theory of writing required, and it was his motif to reform the concept of novels at the time by applying theories of German Romanticism; he considered German Romanticism the origin of notions of art and criticism. The reason that he stopped working on the theory of writing and its practice was simply because his theory was not powerful enough to produce novels. His theory was constructed logically only by his passion for an innovation. When he could not find a motif and theme for his novels, his literary energies which were directed to the theory, writing and criticism at the beginning were concentrated exclusively on the field of criticism.

著者

桶脇 博敏(1964-)

出版者

東京女子大学比較文化研究所

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.74, pp.49-63, 0000

---

Tombstones accounts for three-quarters of the corpus of Latin inscriptions (Corpus Inscriptionum Latinarum) and are estimated number about 250,000 or more. In one study,R.P. Saller and B.D. Shaw investigated Roman family relations based on the data about the commemorator's relationship with the deceased and concluded that the nuclear family was characteristic of many regions of Western Europe as early as the Roman Empire.Later, from the same point of view, P. Gallivan and P. Wilkins attempted to quantify some of the epigraphic evidence relating to the family in Roman Italy during the early empire and reported great regional variations in Italian commemorative practices. This was true of the North, where the slave (or ex-slave) population was represented far less than elsewhere. Building onto previous studies, I investigate the conclusions that can be drawn about family relations in the Western Roman Empire and Italy, especially:1. Did family members commemorated on tombstones live together in the same household?2. Why were illegitimate children (spurii filii) represented far more in Northern Italy?

著者

江口 裕子

出版者

東京女子大学

雑誌

東京女子大学附属比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

no.18, 1964-12

---

The present essay is a sequel to my previous one on Akutagawa and Poe, which dealt with their technique of short story writing. The purpose here is to investigate the nature of their common preference for the strange, the mystical and the bizarre as subjects, and to make clear the differences as well as the similarities between the two writers by analyzing some of their macabre writings. Both wrote of mystery, terror and strange fantasies. They were both deeply preoccupied with the mystery of human existence-death, life after death, madness and such psychological abnormalities as dual personality, hallucinations, obsessions and nightmares. From his early years, Akutagawa was fond of ghostly tales and was well acquainted with the writers of Gothic romances, of whom Poe was one. It was Akutagawa who first discovered and introduced to Japanese readers Ambrose Bierce, one of Poe's successors in America. It is not, therefore, surprising that Akutagawa seems to have been more or less indebted to the writers of the Gothic tradition for the mood of his writings. He customarily endeavored to write for a weird, thrilling effect, but meanwhile impressing his readers by the use of artistic verisimilitude. His earlier works, however, prove that he failed in his attempt to make them realistic and truly believable; they seem to be little more than products of his calculating intellect and craftmanship. On the contrary, the superiority of Poe's writings is not merely a matter of literary art, but of making a full use of his own inner experience to enrich his literary world. The secret of Poe's tales of mystery and terror lies in the excellent blending of his imagination and analytical faculty, a blending which enabled him to reach far into the abyss of the human mind in its conscious or subconscious conditions, and to present the tragic drama of the mind under such critical conditions, as for instance, the awareness of going mad. There is a powerful realism in his tales. No stock characters of the conventional Gothic romance-ghosts, witches, devils and vampires-appear; rather, in most cases, the plot, the characters and the situations all belong to real life, and terror is explored on the basis of human and realistic phenomena. When Poe adds artistic verisimilitude to this basic realism, his works are at their best. It was only in his later years, when Akutagawa confronted the gruesome reality of his own diseased mind and presented the states and processes of its disintegration as they really were, that he could write with impressiveness. In my opinion, Akutagawa rivaled Poe for the first time in Haguruma, where he too created the "terror of the soul" which was Poe's special province.

著者

貝出 寿美子

出版者

東京女子大学

雑誌

東京女子大学附属比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

no.28, pp.1-26, 1970-03

著者

原 英一

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.78, pp.41-57, 2017-01-01

---

Kazuo Ishiguro’s recent turn towards fantasy in his latest novel The Buried Giant has placed all of his previous works in a revealing perspective. In relation to this, the following five propositions are outlined and established.

著者

安藤 信広

出版者

東京女子大学比較文化研究所

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.72, pp.1-16, 2011-01-01

---

This paper considers the thoughts of Japanese people and an aspect of language through the unique circumstances of reading Aesop's Fables in Chinese. Aesop's Fables have been translated into various languages and published in many countries from ancient times till the present day. Although the first translation of this work was published in Japan and China by the Jesuits in the 16th and 17th centuries, a new translation did not appear for a long time after that.

著者

小宮 彰

出版者

東京女子大学

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

no.58, pp.1-22, 1997

---

Terada Torahiko (1878-1935) was a physicist who played an important role in developing the study of physics in modern Japan. He published not only many scientific papers in the field of geophysics and experimental physics, but also many other essays both on scientific and literary subjects. He is today appreciated as a creater of the "scientific essay" genre in Japan. In the history of Japnanese literature, he is known as a younger friend of Natsume Soseki (1867-1916). In I Am a Cat, one of Soseki's earliest works, written in 19041906, there is a character called "Mizushima Kangetsu", a young physicist who studies such "peculiar" themes as "Mechanical Studies on Hanging" and "The Effects of Ultraviolet-rays on Electrical Conductivities of Frog's Eyeballs". It was said as soon as the work was published that the "model" for "Kangetsu" was Terada Torahiko. We can note some facts on this point. In the first place, both "Kangetsu" and Torahiko share the same birthplace and other biographical data. Secondly, a study of the theme "On Hanging" had really been published in The Philosophical Magazine in 1866 by a British physicist, Rev. Samuel Haughton. It was Terada Torahiko who told Soseki about this article. Finally, Torahiko received a doctorate in 1908 for "Acoustical Investigation of the Japanese Bamboo Pipe , Syakuhati", which one might regard as a "peculiar" theme. We are able to find in the correspondence of Torahiko and "Kangetsu" some important features of Terada Torahiko's works. One of those features, I think, is possibly that he had an intention to develop physics beyond the bounds of modern western thought.

著者

太田 浩子

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.47, pp.95-104, 1986

---

Tatsu no ko Taro [Taro the Dragon Boy] is an lengthy imaginative children's story written by MATSUTANI Miyoko. Into this story the author has woven legends on Koizumi Kotaro who controls water, transmitted in Shinshu [Nagano Prefecture], as well as a number of legends and folk tales of other parts of Japan. It is a representative work of postwar Japanese juvenile literature which has been continuously finding new readers among the Japanese children since its first publication in 1960. Taro, the hero of the story, is a spirited boy, born of a mother who had been transformed into a dragon. He wrestles with animals. He expels ogres who have been tormenting people. He cultivates the paddy field and harvests rice. Through these and other experiences, he grows and comes to entertain an aspiration that, by draining a lake, he can create a vast track of new arable land for people of poor mountain villages. With the help of his dragon mother, he manages to realize this dream by demolishing mountains to let the water of the lake escape into the sea. A central thread of this story of growth is the hero's tenderness. Folk tales and legends which are transmitted orally tend to become fragmentary, and their characters are often stereotyped. MATSUTANI Miyoko, the author, came across the legends of Koizumi Kotaro in Shinshu during her journey to search and record folk tales. On the basis of them but with a hope to "make the Taro [i.e. Kotaro] of Shinshu into a Taro of entire Japan, " she lavished her imaginative power on the creation of the hero, Taro, the dragon boy with a great success. The plot and the growth of the hero are closely knit in this story, and the cheerful optimistic hero is given a unique credible personality. Aiming at creating a new literary work which is at the same time anchored firmly in tradition, the author has managed to create in this story an attractive hero who strikes a responsive chord in the hearts of all children. She also has taken great pains to devise a suitable "narrative" style in order toallow children to have an easy access to the world of folk tales through it. In this essay, through the examination of the author's intention, the characterization of the hero, and the style, I have tried to demonstrate that Tatsu no ko Taro really succeeds in building a bridge between the world of folk tales and the children of today, which, in my opinion, is one of the important roles Japanese juvenile literature can play.

著者

曽我 芳枝

出版者

東京女子大学比較文化研究所

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.72, pp.17-30, 2011

---

This paper is a comparative discussion based on Clara's Meiji Diary of how non-Japanese people,with different values and beliefs,took to and understood gagaku,especially, bugaku, which has one of the richest histories of any part of Japanese culture.Clara Whitney,an American girl,came to Japan because of her father's work in 1875(8th year of Meiji), a time when Eastern and Western cultures were coming into contact. She saw ancient Japanese bugaku and tried to understand its cultural world,so completely different from the Western one she knew, with curiosity and passion.I tried to trace which bugaku pieces Clara watched at the beginning of the Meiji Era using evidence from the official Gagakuroku (Musical Activities of the Gagaku Department, Bureau of Ceremonies, Imperial Household Agency), and musicians' diaries. I discovered that the pieces performed in the gagaku rehearsal room between 1878 and 1879 were Manzairaku, Kitoku, Tagyuraku, Bairo and Rakuson. By reviewing Gagakuroku and Clara's Meiji Diary, I have discovered what gagaku was like in the early Meiji era and sensed how the Gagaku Department was trying to spread the cultures of the Japan and West with the aim of promoting exchanges and interactions between Eastern and Western cultures.Clara Whitney was a part of a historic period in the early Meiji era when gagaku underwent a significant transformation and played a role in making the culture known overseas.

著者

浅川 伸一

出版者

東京女子大学比較文化研究所

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.75, pp.1-18, 2014-01-01

---

A neural network model to read aloud proposed. Although two succeeded models\r were proposed so far, some problems still remained unsolved. The problems are the way\r of implementation about the“lookup table”in the dual route cascaded model, and the\r existence of“division of labor”in the triangle model. The model proposed here was\r intended to integrate both models in order to give a solution to these problems. The model\r is consisted of two local perceptrons to deal with information of orthography and\r semantics, and a gating perceptron to adjust outputs of local perceptrons. Introducing a\r Gaussian function and its interpretation, this model can describe contribution of semantics\r clearly. This model can also explain the grapheme-to-phoneme-correspondence rule to\r read regular words, and the way of reading irregular words. According to this model,\r there is no difference between the dual route cascaded model and the triangle model. The\r outward difference between these models can be absorbed in a variance parameter. The\r variance parameter will be adjusted or learned through training many times. Therefore,\r this model can formulate for the problems in which both models could not describe. This\r model can be regarded as an extended and generalised version of previous models which\r are absorbed in this model.

著者

小室 尚子

出版者

東京女子大学比較文化研究所

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.74, pp.37-48, 2013

---

Myotei Mondo is a book of great significance as it is the first book and only one of its era on catechism written by a Japanese author, Fucan Fabian, and was published at the beginning of the 17th century, a period of Japanese history during which Christians were persecuted. After writing the book, however, Fucan Fabian gave up with his Christian faith and about 20 years later, he published his next work, Hadaiusu an anti-Christian book.The title Hadaiusu combines the characters'ha', meaning'confute', and'daiusu',meaning'God'My primary interest is the reasons behind Fucan Fabian change of view of Christianity. I speculate that the major factor was that he could not understand the doctrine of God. He may have had a lot of information about God, but he never grasped the real sense of the doctrine.In this paper, I will draw a parallel between Myotei Mondo and Hadaiusu and will then analyze Fucan Fabian's understanding of the doctrine of Christianity, especially his understanding of God. I hope to delve into the reason for the difficulty Japanese people have in accepting Christianity. I would like to explore whether there are particular aspects of the doctrine about God and Christianity that are difficult for Japanese people to accept.

著者

平瀬 徹也

出版者

東京女子大学

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.58, pp.23-40, 1997

---

It is natural that most writers on atrocities tend to put emphasis on their own case, whether they are witnesses or researchers. But that is not always conducive to a balanced judgement of the case. To avoid this, the present author proposes the differentiation of atrocities of the 20th century into three categories - (a) the madness of battlefield, (b) the madness of war, and (c) the madness of ideology. The madness of battlefield is rather accidental like the Son My (My Lai) Massacre in the Vietnam War or the Nanking Massacre in the Sino-Japanese War. Though the outcome is often extremely bloody and horrible, this kind of atrocity is not caused by government decision. On the other hand, the madness of war is usually more deliberate and calculated. Like the Japanese ill-treatment of the Allied POWs and the Allied strategic bombings during the Second World War, it is the product of national policy. It is not just the outburst of individual or group cruelty. The madness of ideology is also the product of national policy. But as in the cases of the "Holocaust" and the "Goulag Archipelago", it is caused by special ideologies which choose particular races, classes, or religious sects as mortal and unworthy of humanitarian treatment. Even old people and children are not spared cruelties and massacres in this case. The present author thinks that failure to differentiate these three categories of atrocities makes obscure the true character of each case. We must guard ourselves against the confusion of memory and history. If necessary, we must be prepared to scrutinize and calculate.

著者

副田 義也

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.47, pp.75-93, 1986

著者

古澤 頼雄

出版者

東京女子大学

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.66, pp.13-25, 2005

---

文化が人間のあり方に大きく影響することは様々な事象によって自明のことであるが、人間のあり方に文化を超えたかなりの共通性があることもまた見逃せない事実である。そのひとつに社会的スティグマ(烙印)がある。社会的スティグマとは、ひとが相手を自分とは異質なもの、汚れたものと見ることによって、相手の存在によって自分の幸せが脅かされると思えたり、理解したくないという気持ちから、相手と一層距離を置きたいと考える心理である。このことは、大勢の人たちが共通にもっている見方からはずれた対象に対して特に顕著にあらわれる。高齢者、異人種・民族、障害者、貧困者などが社会的スティグマの標的になることはしばしば見聞きするところであるが、それだけではない。ここでは、血縁のない家族を創ろうとする人たちが血縁をもつことは家族にとってごく当たり前と思っている人たちから浴びせられる社会的スティグマに焦点を当てながら、どのようにして非血縁家族は構築されていくかを、"不妊治療の選択→養子を迎える決断→幼年養子を迎える"という家族のライフサイクルによって考察し、非血縁家族を構築する人たちの社会的スティグマへの挑戦を通して、改めて家族とは何かを考える。

著者

中村 ちよ

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.45, pp.17-35, 1984

---

Pearces "Tom's Midnight Garden" und Endes "Momo" gehoren beide zum Genre der Phantasieliteratur. Sie haben Zeitprobleme als Hauptthema, aber ihr Wesenscharakter unterscheidet sich von der "time fantasy", die in der englischen Kinderliteratur ofters vorkommt. Diese Zeitphantasie funktioniert derart, dass die Hauptfiguren der Werke sich zwischen der Gegenwart und der Vergangenheit bzw. der Zukunft hin und her bewegen, und dass die dadurch entstehenden Ereignisse sich um so interessanter gestalten. Die Werke der oben genannten Autoren behandeln jedoch die "Zeit" selbst als Hauptthema. Sie stellen die innere, subjektive Zeit der physischen, objektiven gegeniiber und entwickeln daraus ihre Handlung. Die Hauptperson im "Tom's Midnight Garden" vergleicht die Zeit des alltaglichen Lebens mit der geheimnisvollen Zeit der Mitternacht, die die Erinnerungen einer alten Frau beherrscht. Dadurch wird versucht klar zu machen, was die Zeit eigentlich ist und wie sie tatsachlich wirkt. Pearce beabsichtigt in ihrem Buch, die unfassbare Zeitstromung zu verbildlichen und zugleich die innere Zeit zu verwirklichen. In dieser Hinsicht erinnert das Buch an Prousts "A la Recherche du Temps perdu". Das Zeitproblem, eines der grossten in der europaischen Literatur des 20. Jahrhunderts, ist durch dieses Werk meines Wissens zum erstenmal in die Jugenddichtung aufgenommen worden. Ende kontrastiert ebenso wie Pearce die Uhrzeit mit der psychischen Zeit, die mit dem menschlichen Herz wahrgenommen wird, und lasst die Romanheldin dariiber nachdenken, was das Wesen der Zeit ist. Es sei bemerkt, dass Ende sich zu diesem Problem mehr vom philosophischen und allegorischen Standpunkt aus verhalt. Er kommt dann zu der Erkenntnis : Zeit ist Leben. Damit erklart er die Uberwindung der physischen Zeit. In diesem Sinne steht er offenbar in enger Beziehung zu Rilkes Auffassung in den "Aufzeichnungen des Make Laurids Brigge". Die Gedanken, "Zeitkapitalist" und "Zeitbank", rufen mir jene Stelle von Nikolaj Kusmitsch in den "Aufzeichnungen" ins Gedachtnis zuriick. Die Einfuhrung des inneren Zeitbewusstseins in die Jugendliteratur kann nicht beziehungslos mit dem sich immer intensivisierenden materiellen und geistigen Druck der Leistungsgesellschaft auf einzelne Individuen sein. Dieser Zug verstarkt sich trotz des wirtschaftlichen Gedeihens besonders nach dem Ende des Zweiten Weltkriegs und diese Krise dringt sogar in das Leben der Kinder. Das Werk Endes gibt uns zu verstehen, dass es uber die physische Zeit hinaus eine durch das Herz empfundene Zeit gibt, und dass die richtige Erfassung dieser Zeit die Innewerdung des wahren Lebens bedeutet.