著者

高木 雅惠 高木 雅恵

出版者

九州大学大学院比較社会文化学府比較文化研究会

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.16, pp.1-14, 2012

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Akutagawa Ryunosuke committed suicide during the literary controversy with his rival Tanizaki Junichiro, in which Tanizaki underlined the importance of the novel's plot while Akutagawa emphasized its poetic sentiment. Before his death, Akutagawa sent Tanizaki a copy of the novella Colomba by Prosper Mérimée. The plot of Colomba describes a vendetta, but the novella is also full of romantic local color described with poetic spirit. This paper argues that Akutagawa wanted Tanizaki to understand Colomba's poetic spirit.

著者

デ・プラダ=ヴィセンテ マリア=ヘスス

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.7, pp.1-8, 2003

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To explain the very bottom of Japanese reception of Chinese literature, we have first to consider the fundamental difference of language between Chinese and Japanese, The difference lies mostly in the fact that the former is a conceptual language in which each word corresponds to a concept, while the latter, an emotional code system, in which each sign is to evoke a collective emotion. If the poems of Po Chu-i (772-846, Haku Rakuten in Japanese) has been enjoying a great popularity among the Japanese, it is because his poems contain more signs than other Chinese famous poets, that could evoke Japanese collective emotions, we can see this in Wakan Ro-ei-shu, an poetical anthology of High Heian period, in which many of his works were selected but cut in pieces. The compilator must have judged that by cutting them into pieces, they could evoke Japanese emotions more easily. To the same purpose, the compilator dared even to change the words of some poems of Po Chu-i's. Using such devices, the ancient Japanese seems to have reassured their imaginary world without rejecting Chinese fragrances.

著者

大嶋 仁

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.12, pp.80-98, 2008

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One of the most popular poems of Arthur Rimbaud in Japan is Sensation, whose translation has been done many times by different men of letters of modern Japan, from Kafu Nagai to Takayuki Kiyooka. In these different versions, there can be found at least two common points, which appear to be problematic from the viewpoint of the author. First, none of the translators were successful in transmitting the young French poet's strong will to conquer the world of poetry, which were consistently expressed by the future tense of different verbs in the poem; and second, none except Mitsuharu Kaneko was successful in translating "l'amour infini" to express the universal creative energy that the poet had within. This article supposes that the cause of these failings are due to the fact that Japanese translators of Rimbaud did not interpret Sensation in association with the poet's vision of the world and poetry, which he expressed in his letters.

著者

蘭 蘭

出版者

九州大学大学院比較社会文化学府比較文化研究会

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.18, pp.1-15, 2014

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Tamura's story Oshichi and Kichisa is an adaptation of one tale in Saikaku Ihara's series of stories Five Women Who Loved Love. This paper aims to compare the descriptions of the female protagonist in Tamura's story with those in Saikaku's in order to clarify the characteristics of the former. Unlike Saikaku's boy and girl, who love each other, in Tamura's story the girl loves the boy unilaterally, and also more aggressively. In Tamura's protagonist, we see a type of 'love for love's sake' to emancipate her ego.

著者

梁 艶

出版者

九州大学大学院比較社会文化学府比較文化研究会

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.14, pp.27-36, 2010

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Hara Hôitsuan (1866-1904) was one of the most important Japanese translators in the Meiji Era for Victor Hugo's les Misérables. His translation, entitled Janbarjian of a fragment of Les Misérables, was serialized in the Kokumin Shimbun. To determine which English original translations Hara Hôitsuan used, it is necessary to research his translations. There are some clues to infer what the original English translations he used were. For example, he provided in his last paragraph on the section of Waters and Shadow the original translation's English text. In this paper, his translations are compared with other English versions of Les Misérables. We conclude that the original translation he based his translation on was Charles E. Wilbour's translation published in 1862.

著者

徳永 哲

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.8, pp.xvii-xxv, 2004

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In 1915, W.B.Yeats had a chance to read some scripts of Noh theatre that Fenollosa and Pound had translated into Japanese, and in 1916, he wrote in 'Note on the first performance of At the Hawk's Well'. "I have found my first model - and in literature if we would not be parvenus we must have a model - in 'Noh' stage of aristocratic Japan." What is the meaning of "a model" that he writes in the essay? It is evident that he did not imitate the Noh scripts. He had been seeking for the ideal theatre or 'Poetic Drama' for many years before he met the Noh scripts. He tried to realize "the emotion that comes with music of words" and "the moment of exaltation, of excitement of dreaming" on the stage. But creation of 'Poetic Drama' without example was extremely difficult. He took Gordon Craig's advices and he tried to use 'Screen' on the stage and made the actors wear 'Mask'. Although he tried to do different things to create 'Poetic Drama', he was not satisfied with the results. His encounters with the Noh scripts, Fenollsa's essays and Michio Ito solved his difficult problems. He learned totally new forms from the Noh theatre, including actor's movements, existence of musicians and Japanese dancing. The process of groping for his 'Poetic Drama' from 1889, brought him to make At the Hawk's Well. I believe that W.B.Yeats could complete his 'Poetic Drama' in the Noh-inspired At the Hawk's Well.

著者

前田 知津子

出版者

九州大学大学院比較社会文化学府比較文化研究会

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.15, pp.54-64, 2011

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This paper analyzes the modifications SAITÔ Mokichi made in his tanka poems in Taishô 6(1917). From Taishô 2 to 4, Mokichi tried to create tanka poems different from his past ones. Around Taishô 6, dissatisfied with his new poems that were created around Taishô 3, he modified some of them. I will discuss and conclude that the words and phrases Mokichi modified or replaced corresponded with those which KITAHARA Hakushû had often used then.

著者

ブレーデン バーナビー

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.5, pp.60-70, 2001

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Hana begins with something like a statement of fact. 'When it came to Zenchi Naigu's nose, there was nobody in the town of Ike-no-o to whom it was not known'. This opening sentence, however, performs at once an opening-out of the particular (or peculiar) into the general, and a disclosure, a making-public of something hitherto hidden. It is precisely these two movements - from the particular to the general, and from the hidden to the overt - that direct the hermeneutic discourse supporting the story. My overall thesis takes as its object both the text of Hana itself, and the substantial interpretative genealogy that has grown around it. What I present here, however, is nothing more than an introductory study of the topic: a presentation of the problem and a dialectical working-through of its interpretation.

著者

西野 常夫

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.5, pp.lxxxii-xc, 2001

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The high frequency in use without apparent reason of the fatalistic affirmation "it was certain that…" in Akutagawa's late autobiographical short stories "Cogwheels" and "A fool's life" makes the writer's style very unique and can even confuse the reader. The difficulty in understanding possible reasons for his use of this affirmation are more explicit in English, French and Russian versions, where the translators often seem to give up the idea of preserving the meaning of this expression and simply eliminate it. In the foreign versions, as a result, Akutagawa's style is more moderate and less fatalistic than in the Japanese original.