著者

江藤 正顕

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.12, pp.55-66, 2008

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This paper focuses on the structure of internal dialogue in Chibimaruko-chan, an animation made by SAKURA Momoko. The concrete characteristic is 'heart-talk', an equivalent of internal dialogue in Japanese, which is frequently employed in the field of animation. With incorporation of images and voices of radio actors and actresses, the structure of 'internal dialogue' brings us a supernatural dimension of 'reality'. Especially, the vertically or horizontally parallel lines on the characters' faces, though displayed with simplicity, depict the precise mental movement of the characters. The characteristics of such mental movement are best represented in animation when such expressive technique compounds the characters' inner voices. This paper aims to explore the meaning of Japanese animation in the modern times in order to understand these phenomena better, and to investigate the totality and the antiquity which are embedded in animation with regards to religion and philosophy.

著者

尹 小娟

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.22, pp.47-57, 2018-12-28

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This article aims to examine a certain feature of Ju.ran Hisao as a recruited writer in the South (Nanpo) during the Pacific War. His southern works written during the wartime humorously describe life there in wartime as if it were normal daily life. While on the whole he demonstrated a cooperative attitude towards the wartime policy of the Japanese government of that time, his will to value literariness in his writing is also discernible, and it is in this aspect that his works prove to be unique

著者

池田 和彦

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.8, pp.xxvi-xxxvi, 2004

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ドストエフスキイの『地下室の手記』が現代文学の始原の一つに位置付けられ、この作品の画期的性格を喧伝したシェストフの『悲劇の哲学』を介して、昭和文学に大きな影響を与えたことはつとに知られている。本稿はシェストフ論争に至るまでの『地下室の手記』の初期の紹介について、森田草平の翻案『霙』を中心に概観し、ついで『悲劇の哲学』の翻訳者阿部六郎がこの翻訳を行った背景について述べる。また、あわせてもう一人の共訳者河上徹太郎がシェストフの流行をどのように見ていたか、簡単に紹介したい。

著者

蘇 明仙

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.6, pp.xli-liii, 2002

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This paper focuses on the double aspect in Oe Kenzaburo's "Contemporary Game". We first studied how far Japanese myths were used in village folklore in order to give the folklore 'mythicality', and how Oe Kenzaburo used these myths as factors which allow a double reading of his book We also paid attention to how the history and the myth of village=nation=microcosmos' as a periphery facing its center, have a double aspect in the expression of 'structural totality'.

著者

高橋 誠一郎

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.8, pp.8-23, 2004

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Recently we find many articles highly evaluating Shiba Ryotaro's Saka no ue no Kumo as a historical novel which glorifies the Russo-Japanese War. Indeed, in the first half of this novel Shiba takes the war as the "self-defensive war" fought against Russia, "the barbarous Empire", by democratic Japan, which was the first country to have the "Constitution". When he refers to the "High Treason Incident" after the war, however, he writes that Tokutomi Roka, a Japanese novelist, abhors the "nation becoming the prosecution against its own people". Moreover, in the last chapter he notes that Akiyama Masayuki, one of the protagonists who defeated the Russian Fleet, falls into the same depression as Roka. In this paper I intend to examine the relation between Roka and his brother Soho, a nationalist, and to compare Roka's Tolstoy, a biography of the Russian writer, and some of his novels with Shiba's Saka no ue no Kumo and his other novels. What I would like to show through this study is that Shiba supported pacifism like Roka, for after careful researches into a good deal of material of the Russo-Japanese War he became aware of the misery of the wars in the modern ages and the problems of westernization and chauvinism which caused the Pacific War.

著者

江藤 正顕

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.1, pp.27-42, 1997

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This essay deals with the literary method of Natsume Soseki's "Ten Nights of Dream". It seems to me that Soseki's method in this work is directly related to that of E.A.Poe's technique of literary 'perversity'. Soseki's diaries and memoranda also provide clues concerning dreams and the imagination as well as scientific or philosophical conceptions, which also relate to the literary method I analyse.

著者

清水 孝純

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.17, pp.1-12, 2013

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D.H.Lawrence's essay "Apocalypse" (1931) is unique in its interpretation. Lawrence strongly criticizes the desire for power shown in the Book of the Apocalypse in the New Testament. It is in his opinion a vengeful expression of oppressed Christians. But on the other hand, he appreciates highly the vivid reminiscence of the ancient mythological and heretical world which lurks behind the fantastic, awful and negative imagery. He considers it a revival of a prodigious, vibrant impulse from ancient times that will rescue civilization from its decadence. Nakamura Yujiro, one of the most eminent philosophers in Japan today, uses this idea of Lawrence to approach the problem the evil, particularly the evil portrayed in the Dostoevsky novel Devils. He analyses this complicated novel through the Book of the Apocalypse to reveal its deep structure. He finds that, in creating Devils, Dostoevsky owed a lot to this part of the bible. He considers the reason why the Apocalypse performs such an important role in Dostoevsky's novel. Finally, he finds in the text of the Apocalypse the existence of Gnosticism, which reveals to him the reason why such evil beings as Stavrogin or Pyotr in the Devils seem to be mysteriously attractive.

著者

黄 英

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.12, pp.34-43, 2008

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賢治の作品において、みんなが幸福になる理想世界を実現するために、自己犠牲的な行動がよく表現されている。そして、自己犠牲は〈他者のため〉という基本要素が含まれるため、賢治に〈菩薩〉というレッテルが貼られ、聖人視される傾向が出てくる。また、それに反発する傾向もしばしば見られる。これでいいのかと疑問を感じる。本稿は賢治における自己犠牲の内実を問い直すための第一歩として、よく自己犠牲色の強い作品とされる「よだかの星」におけるよだかの死を再検討してみる。自己犠牲と言う場合、必ず二つの面が備わっている。ひとつは、自己の利益を無視し、さらに自己の命までも捨てること、もうひとつは、対他関係において、その行為は他者の為になること。しかも、二つの面が同時に揃わなければならない。自己の利益を考えず、さらに自己の命を捨てる行為が、他者の為になってはじめて、自己犠牲と呼ばれるのであろう。自分の命を捨てる行為は必ずしも常に〈他者のため〉を主な目的とするとは限らない。ある場合は、自分が直面する苦難からの脱出、いわゆる自己救済が主な目的ということもある。以下は「よだかの星」のよだかの死に対する位置づけを、テキスト読解並びに修羅意識との関連を通して、試みたものである。

著者

河田 和子

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.3, pp.xlv-lx, 1999

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The "Kotodama" theory of Yasuda Yojuro in its early stage received some influence from the thought of Fujitani Mitsue. Yasuda valued Fujitani's scientific attitude. But, Yasuda came to be more based on Kamochi Masazumi's thought than Fujitani's. In this way, Yasuda's "Kotodama" theory developed away from a "Necessity theory" to a "Chance theory". Discussions about "Kotodama" were carried out during the Pacific Ocean War among Japanese writers. They considered it as different from the Western knowledge system. They were thinking about "Kotodama" which attached importance to sound. Yasuda's position was different from that of the other writers. He thought about "Kotodama" in order to change the recognition of the world based on scientific rationalism. He tried to conquer the modern principle by studying the world view of the school of ancient Japanese national studies (Kokugaku).

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.15, pp.14-30, 2011

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Victor Hugo was introduced into China through his Japanese translations. However, the route of the reception of his masterpiece Les Misérables in China has not yet been explained clearly. In this paper, I will take Ai Shi Zhi Yi Jie Yi Fan, a Chinese translation by Chen Jinghan of a part of Les Misérables, as an example to see how Les Misérables was introduced into China. By examining Japanese translations of Les Misérables, I come to the conclusion that Chen was influenced by Kuroiwa Ruikô's translation of Ah Mujô. I also find that translations of Les Misérables in China were deeply influenced by the Hugo boom in the Meiji era.

著者

中野 和典

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.6, pp.1-10, 2002

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The subject matter of Abe Kobe's "The Face of Another" is the loss of a man's face. "I" was seriously injured in the face in an accident. What is the meaning of the loss of a man's face in contemporary society where people are asked to show their identities? What becomes clear through his hard struggles in making an elaborate mask and tempting his wife is how man is influenced by his face. "I" goes into the city with the mask on and knows that the world is a prison and people are its prisoners. Why did he say, " The world is a prison?" And on one hand he has some sympathy for Koreans in Japan, Blacks in America and a girl from Hiroshima, who are alienated in the community on account of their faces, on the other he feels that something is wrong. How is this related to his recognition that the world is a prison? In this essay I try to make clear the extension of the representation of the face in "The Face of Another".

著者

中村 智

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.5, pp.119-130, 2001

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This paper discusses why Shiga Naoya chose to write about Korea then a Japanese colony, in his novel "A dark night's passing". The question is not what part Korea played in the novel, but why Shiga was interested in Korea. A noteworth point is the relationship between Shiga and his friend, Yanagi Muneyohi. Yanagi was a scholar of Korean ceramics. In the 1930s, he criticized, through critical essays, in a roundabout way, the then Japanese Government for not considering and working for Korea sufficiently. One of the reasons Shiga wrote about Korea was that he shared Yanagi's opinion and wished to assist Yanagi's work. However, a more significant reason was that Shiga wanted to get readers of his own work to face the situation in Korea. He chose a different way from Yanagi's. He faced that problem not as an activist but as a novelist.

著者

金 美廷

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.5, pp.71-82, 2001

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In this paper, I discuss the characteristics of, and differences between Kawabata's literary work entitled "The Izu danser", with its "opened first person", and other Japanese "I-novels", based on "I". In particular, I compare and analyze the two types of novels focussing on their unusual points of view and objectification of "I". In conclusion, the characteristic of the "opened I" in "The Izu danser" is the change of "I" which can reach self-liberation (mental growth) through self-reflection and self-impurity experienced by objectification of "I".

著者

江藤 正顕

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.13, pp.35-51, 2009

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『復興期の精神』(注1)は、論文というより作品と呼ぶに相応しい、花田清輝の青年期から壮年期にかけての産物である。書かれたのは彼が三十代の頃であるが、若き花田の傲岸不遜とも見える自信の背後に、華麗にして繊細な相貌が潜んでいる。この作品は、方々にその毒を撒き散らしている。埴谷雄高、吉本隆明、三島由紀夫、澁澤龍彦というように、それが発するスペクトルは意外な方向へと散乱している。しかも、このととは、その細部に及び、陀田の文体、言い回しの癖のようなものまで、そこには見出せる。澁澤の初期の『神聖受胎』(現代思想社、一九六二年、サド裁判係争中)などは、花田の文章かと見間違うほどである。花田の表現内容そのものが、他者へ伝播するように伝わっている。もはや引用の意図もないところで、花田の語句が流布しているのである。この花田の文章のもつ感染力は異様である。これは案外、稀有なことなのかもしれない。おそらく、他の作家たちも、どこかで読んだことのある花田の文章を意識しないで書いているに違いない。むろん、盗作しているわけではない。花田には、このような同時代性、文体の協働性のようなものがあった。以下に、この花田の〈協働現象〉について論じてみよう。なぜか、同時代にある対象が降って湧いたように共通の話題になるということがある。なぜ、それがその時期なのか、ということがなかなか説明しにくい現象である。ブームと言ってしまえば簡単だが、まったく因果関係がないわけでもない。たとえば、小林秀雄「当麻」(初出は『文,学界』一九四二年四月)(注2)、花田清輝「楕円幻想」(初出は『文化組織』一九四三年一〇月)、太宰治「ヴィヨンの妻」(初出は『展望』一九四七年三月)、この三人は、戦中戦後にかけて、いずれもフランソワ・ヴィヨンと何らかの関係のある文章を残している。ここには、時代の潮流や傾向というものが映し出されているように思える。なぜこの時期に文学者たちが一斉にヴィヨンに言い及んだのか、ということである。戦中戦後のヴィヨン現象には何か理由があるのか。それとも互いを意識しての連鎖反応だったのか。「復興期」と呼ばれているルネッサンス時代、宗教改革時代といったものも、また日本ではこの頃、一種のブームのようにさかんに論じられた。多くの、けっして専門家ではない人までもが「文芸復興期」について語っている。野面宏がブリューゲルに材を採った「暗い絵」(初出は『黄蜂』一九四六年四月?一〇月)を描き、埴谷雄高が『フランドル画家論抄』(宇田川嘉彦の筆名、洗剤堂書房、一九四四年五月)を出版するなど、あるいは、もう少し時代が下って、美術史家の土方定一がドイツ・フランドル画家論集でレンブラントや、ヒ戯曲ニムス・ボスを取り上げ、前川誠郎がデューラー研究に進むなど、時代を挙げて、北方ルネッサンスの一大ブームであった。また、渡辺一夫都『ラブレー研究覚書』(白水社、一九四九年)、八代幸雄が『随筆レオナルド・ダ・ヴィンチ』(朝日新闘社、一九四八年)を出版するのも、広いパースペクテイヴで捉えれば、この時代、すなわち、第二次世界大戦前後のことである。(注3>花田の『復興期の精神』もそのような時代趨勢と無関係ではないだろう。花田が使った〈雀形期〉という言葉は、こうした意味でも、よく時代の柑を捉えているように思える。花田の描いたパースペクティヴは、これらの文入たちをも巻き込むように、昭和の戦前・戦後の時代を映し出している。

著者

酒井 美紀

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.11, pp.1-19, 2007

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Koyo's Natsu-Kosode is an adaptation of Moliere's L'Avare, in which all the original scenes and personae are modified in Japanese style. In this paper I analyzed homogeneous and heterogeneous elements between the two dramas in order to illuminate Koyo's method of adaptation. Besides style, Koyo added some modification in the plot to give a fresh impression. He harmonized Western elements with Japanese traditional ones to please and satisfy the Japanese reader.

著者

海老井 英次

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

no.5, pp.1-10, 2001-03-20

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Shakai Kashoubu (fancy ball in the Meiji era) is a satirical novel portraying society in the period of Meiji in Japan. It is written in the form of a book of travel to a Utopia. Here I introduce the contents of the novel with some notes.

著者

趙 正民

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

no.5, pp.156-162, 2001-03-20

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A 'national language' is undoubtedly strongly affected by that nation's ideology. "American School," written by Nobuo Kojima, describes how three English teachers encounter difficulties resulting from the political and ideological differences between the Japanese and English languages. This paper aims to examine "American School" in the context of the period when Japan was occupied by America, focussing particularly upon the political aspect of language and the nature of national language.

著者

尹 一

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.5, pp.24-39, 2001-03-20

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Mushanokoji Saneatsu aimed at the "God's country" onstruction as an ideal country. At that point, he considered the "New Village Movement" as a model. It was Jesus Christ whom he used as a concrete example. However, while the country of God; according to Jesus Christ, was considered to be part of the afterlife, Mushanokoji's "God's country" is an earthly one and he regarded Jesus Christ as his "friend" or "brother".

著者

宮崎 尚子

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.5, pp.149-155, 2001

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Namichidori was written as a continuation of "Senbadzuru" but is unfinished. However, "Harunome" and "Tsumanoomohi" should also be read in addition to "Namichidori", as a series of works. Since the works' titles are of great relevance to their contents, this essay primarily considers the meaning of the title "Namichidori" in relation to the relationship between Kikuji and Yukiko. Consequently, it is possible to define Namichidori as being on opportunity which opens a perspective on the past, once in a while. It overlaps with Yukiko. She heals Kikuji with her warmth but in that way she simultaneously makes Kikuji remember the past, which is why Kikuji can not enter a sexual relationship with her. In "Senbadzuru" Kikuji was described as being absorbed in his sexual desire. By contrast, his delicate sensibility is developed in "Namichidori".

著者

江藤 正顕

出版者

九州大学

雑誌

Comparatio (ISSN:13474286)

巻号頁・発行日

vol.11, pp.48-60, 2007

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Oriental descriptions can be found throughout Walter Benjamin's works: descriptions such as of the game of go, oriental pottery, pictures and calligraphy. Those descriptions seem to be the so called "Orientalism" from the westerners' eyes. For Benjamin, however, those objects were not treated as exotic ones that the westerns yearned for. It can be said that for him his oriental descriptions played the function of reflection on modern western society. The Orient is playing a role as a catalyst to activate his thoughts. The way Benjamin looked at the Orient was greatly influenced by Bertolt Brecht. However, through his eyes seeing the Orient, he has attained his own unique way to cognize history. He tries to break away from historical philosophy of Hegel and Marx. Benjamin's way of understanding of history can also be compared with that of Shinran, the Japanese thinker.