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

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

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

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

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

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

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.