개천용지개(開川龍之介)의 자살에 관한 소고

하태후 한국일본어교육학회 1990 日本語敎育 Vol.6 No.1

일본근대문학의 그리스도교 수용과 전개

하태후,박영준,김윤택,박승호 한국문학과종교학회 2002 문학과종교 Vol.7 No.2

The influence of Christian religion to Japanese modern literature is seen from the Meiji dynasty, But we can not help be disappointed about the influence. Until late 20th century, the Christian religion literature which was accepted as the thought of Christianity, could not escape from an immature stage. Starting with Tokoku and Toson, it was the same as the situation to the writers of socialism, the Minyusha group, the Shirakaba group and naturalism. Christian religion was not giving them the power to live ultimately. And the relation of Christian religion and the writers has succeeded to Catholicism literature R. Akutagawa → T.Fori → S. Endo, and Protestantism literature R. Akutagawa → O. Dazai → R. Shiina. In the case of R. Akutagawa, it was not in the Christian Dogma, the church as a system or believer's behavior that he thought important. He discovered that the origin of the human existence itself, and the appearance of the suffering which carries 'Worldwide pain' itself at the existence to be called Christ. As he wrote in "The Western Man", 'I began to pay attention to Jesus Christ who is not only from the people of the path, but also from modern people looking back.' His confession is connected here deeply. Dazai read The Bible and he enlarged the consciousness of sin and resisted consciousness about impurity. The motive which Dazai read The Bible, was to throw away the thought of communism. It was for him filling the blanks of spiritually up due to the guiltiness of society. In any difficult situation, Dazai touched strongly upon the one spirit of the human, K.Uchimura, who overcame life to the support of his incompatibilities. He confessed that he entered, by foot, into the world of the faith and he was fascinated more with The Bible because he did the love of reading The Bible. After this, The Bible was melted and entered his works as the manual of life and ethics. It became civilized as the ethics to resist and to criticize the period. R.Shiina entered Christianity faith finally by influence of the Dostoevsky's literature that treated the problem of God in Christian religion. According to his trace of the spirit, Shiina's works are divided into three parts. First, the time to keep himself in existence as to fight hard with the despair and the nothingness. Namely, the works of the time which is groping for God. Second, the works of the time which reaches Christian religion faith. Third, the works of his later years which is subjected to the problem on freedom of the human, with he to fight against the heart disease of paroxysm. The works and life of Shiina as a whole, we can say, was walking to pursue the freedom and the problem of God that rescues the human. The problem of the authentication which the West differs from the East in "The Sea and Poison" by S.Endo is progressed as the problem of East reception of Christian religion and as the subject to be a motherhood faith in "The Silence". Via "The Edge of the Dead Sea", it is developed as a universal Jesus who 'a companion Jesus' to orientals. As it is reached "The Warrior", it presented a typical model of Christian religion of reception to the Japanese. In "Deep River", it is passed over the range of the religion and progress for an origin problem, a reality of the human and solution for existence. Since a visit to Japanese shores by Admiral Perry, a course of reception of a non critical though of Western Europe had happened. Endo's literature reflects constructive resolutions about a traditional thought of Japan and complicated problems which have agonized the solution in Japanese modern history.

아쿠타가와 류노스케의『무도회』재고

하태후(Ham Tae-Hu) 대한일어일문학회 2014 일어일문학 Vol.61 No.-

《Dance Party》is a work that the so-called ‘Aesthetics works’ and ‘Works in enlightenment period’ of Ryunosuke Akutagawa are mixed and crossed, and a transitional work moving from ‘Aesthetic sworks’ to ‘Work in enlightenment period’. Therefore, this short story can be seen as either an ‘Aesthetics works’ or a ‘Works in enlightenment period’. If we consider《Dance Party》as a series of ‘Aesthetics works’ which Akutagawa has pursued so far, this work has compulsive force to complete the work as shown in the previous works. To find this point, this study compared and observed 〈Un Bal a Yeddo〉 and《Dance Party》which the author presumably used rough sketch. 〈Un Bal a Yeddo〉 is a record of personal experience which recorded the fact seen through Loti’s eyes. However, Akutagawa completed《Dance Party》reconstructing the work focusing on the evening party through making Akiko, a heroine, to meet and communicate with a French naval officer. In《Dance Party》「1」, Akiko’s fresh impression on the dance party and the boredom of life were described. The naval officer’s solitude watching the night sky of disappearing flame, darkness and artificial lighting between these two persons and its panorama. These are well depicted as much as we can say this panorama is a typical aesthetic of novel. Saying that ‘Artistic activity is conscious even for a genius’ and ‘Artist must learn technique even though he dislikes’, Akutagawa strived to acts of artificial and conscious creation. Finally, he asked what ‘life’ is for artist and makes his artistic viewpoint by completing ‘Aesthetics works’ as an answer for this question. And, it is connected to《Dance Party》. At the same time, he was advised by his teacher Soseki Natsume to reflect what he has made so far. Starting from《Dance Party》, he asked again deeply inside himself.《Dance Party》is a work reaching to the summit of ‘Aesthetics’ and reproaching himself what ‘the flame which he felt so beautiful as to raise sorrow’ was.

아쿠타가와 류노스케의 『참마죽(芋粥)』고찰

하태후 대한일어일문학회 2005 일어일문학 Vol.28 No.-

아쿠타가와 류노스케의『라쇼몬』고찰

하태후 일본어문학회 2004 일본어문학 Vol.24 No.-

아쿠타가와가 본 니토베의 「무사도」

하태후 한일군사문화학회 2013 한일군사문화연구 Vol.15 No.-

<무사도>는 니토베 이나조가 영문으로 「The Sprit of Japan」이라고 부제를 붙여 출판한 서적이다. ``봉건제도 및 무사도를 이해하지 않으면 현대 일본의 도덕관념은 결국 봉인되어져 두루마리가 될 것을 알았다’라고 하는 점이 저술의 동기이지만, 여기서 다루는 「무사도」는 협의의 봉건 제도로서의 무사 도덕에 머무르지 않고, 부제가 시사하듯이 오히려 광의의 일본정신개설이며, 니토베는 일본에도 서구의 크리스트교와 같은 보편 도덕의 존재를 소개하기 위해서 본서를 저술하였다. 그런데 아쿠타가와는 작품 <손수건>에서 니토베의 「무사도」를 비판한다. 그것은 스트린트베르크의 「극작술」 중에서도 「고정된 틀」, 즉 Manier를 가지고 「무사도」를 비판한다. 어느 초여름 오후에 자신이 가르치고 있는 학생의 모친인 니시야마 아쓰코라고 하는 여성의 방문을 받고 이야기를 하는 가운데, 간병의 보람도 없이 자식이 죽었다고 하는 것을 이야기하면서, 마치 일상의 일처럼 입가에는 미소마저 띄우고 있는 태도에 선생은 놀란다. 또 떨어뜨린 부채를 주우려고 테이블 아래에 눈이 갔을 때, 부인이 전신의 슬픔을 손수건이 찢어지도록 쥐어짜는 듯이 견디고 있는 모습을 찾아내어 한 번 더 놀란다. 저녁 식사 후에 다시 읽기 시작한 「극작술」 중에서, 얼굴에는 미소 지으면서 손에서는 손수건을 찢는 유명한 여배우 하이베르크부인의 이중 연기를 「역겨움」이라고 단정하고 있는 것을 읽고 마음의 조화가 무너진다. 여기서 「무사도」는 세계 보편적인 「크리스트교적 정신」과 일치하기는커녕, 「극작술」의 한 장으로 간단하게 무너져 버린다. 그렇다면 「무사도」의 내막은 무엇인가를 아쿠타가와는 의미심장하게 묻고 있다. 그러나 하세가와선생의 「무사도」가 「극작술」의 한 문장의 비판으로 그렇게 간단하게 무너질 가벼운 성질의 사상은 아니다. 스트린트베르크의 「극작술」이라는 일종의 연극 기법상의 「주의할 점」과 동일시해서 「무사도」를 고정시키고 오래된 프레임으로 바꾸려한다면 확실히 문제가 있다. 그럼에도 불구하고 아쿠타가와가 이 작품에 펜을 든 이유는 어디에 있을까. 이 <손수건>이라는 작품에는 전통적인 「고정된 프레임」 속에서 자족하는 인간과 이것을 비판하는 자각된 사람의 야유가 들어 있다. 아쿠타가와는 이것을 지적하기 위해서 무리를 감내하면서 이 작품을 완성시켰다고 하는 것이 옳을 것이다. <武士道>は新渡??造が英文で「The Sprit of Japan」と副題を付けて出版した書物である. 「封建制度および武士道を解することなくんば、現代日本の道??念は結局封印せられし?物であることを知った」というのが著述の動機であるが、ここで取り扱う「武士道」は?義の封建制度での武士の道?にとどまらず、副題が示唆するようにむしろ?義の日本精神??で、新渡?は日本にも西?のキリスト?のような普遍道?の存在を紹介するために本書を著わした. ところで芥川は<手巾>で新渡?の「武士道」を批判するが、それはストリントベルクの<作劇術>の中でも「型」、?ち、Manierをもって「武士道」を批判する. ある初夏の午後に自分が?えている?生の母親である西山篤子という女性の訪問を受け、話をする中で、看病の甲斐もむなしく子が死んだということを話しながら、まるで日常の事のように、口元にはほほ笑みさえ浮かべている態度に先生は驚く. また、落とした扇子を拾おうとテ-ブルの下に目が行った時、婦人が全身の悲しみを手巾を握りしめる形で堪えている姿を見つけて先生はもう一度驚く. 夕食後にまた?み始めた<作劇術>の中で、顔では微笑みながら手では手巾を引き裂く有名な女俳優ハイベルク夫人の二重演技を「臭味」と?定していることを?んで心の調和が崩れる. ここで「武士道」は世界普遍的な「キリスト?的精神」と一致するどころか<作劇術>の一章で簡?に崩れてしまう先生の「武士道」の內實は何かを芥川は意味深長に問っている. しかし長谷川先生の「武士道」が<作劇術>の一文章の批判でそのように簡?に崩れる?い性質の思想だろうか. ストリントベルクの<作劇術>という一種の演劇技法上の「?を付ける点」で使われた內容と同一視して、「武士道」を固定され、古びたフレ-ムで切り替えるには確かに問題がある. にもかかわらず芥川がこの作品の筆を執った理由はどこにあるのか. この<手巾>という作品には?統的な「固定されたフレ-ム」の中で自足する人間と、これを批判することに目?めた者の皮肉がきらめいている. 芥川はこれを指摘するために無理を忍耐しながらこの作品を完成させたと思うのが正しいだろう.

일본문학(日本文學),일본학(日本學) 편(篇) : 춘계국제심포지엄 ; 인간과 자연의 공생: 환경,언어,지역으로 본 일본문화 : 아쿠타가와 류노스케의 『지옥변』 재고 -아쿠타가와의 예술지상주의의 내실-

하태후 ( Tae Hu Ha ) 한국일어일문학회 2011 日語日文學硏究 Vol.78 No.2

芥川龍之介の『地獄變』の特徵は、初盤に登場人物の相互關係を說明するのに作品の約四分の一を割いており、後半部に入ればナレ―タ―は次第に地獄變相圖の完成過程の說明に變わるところである。ナレ―タ―はこの過程を通して作者芥川の芸術至上主義の如何なるを表明するに至る。それならば、芥川の芸術至上主義は『地獄變』を通して、どのように形成されたか、また芥川固有の芸術至上主義はどのようなものであったか、彼の芸術において芸術至上主義の限界はどこにあったのかという、いわゆる芥川の芸術至上主義の內實を糾明してみた。『地獄變』は大殿が良秀に地獄變相圖の屛風を描くことを言い付けた、彼の世俗的權力の濫用から始まる。もう一つは見たことのないものは描くことができないという良秀の「卽物主義」がここに相乘作用をする。この二人の要因によって一人娘は燒かれ、良秀も自ら命を絶ち、大殿は『邪宗門』に描寫されているように最後には慘めな最後を迎える。結局この作品は「芸術」と「人生」の殘忍な係わり合いが描かれていると言ってもよい。人間の內部に存在する不條理な魔的なことに操縱されて大殿と良秀がその娘とともに地獄の闇に墮落して行く過程を描いた作品であると言える。雪解の御所で娘を乘せた檳랑毛の車が燃える。良秀の顔は恍惚と法悅にきらめき、その威嚴が鳥にも人にも鼓動する。このなかでナレ―タ―は、ひいては作家はこの作品を通して自分が表明したかった芸術至上主義を明らかにする。一月後地獄變の屛風の繪は完成された。良秀が大殿に見せると一緖にいた橫川の僧都はかつて良秀を人面獸心の曲者だと批判したにもかかわらず、大きく譽める。以後良秀の惡口は邸宅內では聞こえない。翌日良秀は自分の部屋で繩をかけて縊れ死んだ。死骸は良秀家の跡に埋まる。やがて數十年の風雨に쇄されて誰の墓とも知れなくて、苔が生えたというナレ―ションで作品は終わる。芥川はいわゆる彼の芸術至上主義の作品の中でも多分『地獄變』に自分の芸術と芸術家としての運命を最も意味深長に扱ったと言える。しかしそれは「人生」の犧牲を擔保にする悽絶な「芸術」の勝利であった。『地獄變』で芸術の勝利を描いた芥川は決してその勝利を滿足する勝利として考えていない。彼には少なくとも『地獄變』は芸術の不幸な勝利そのものであった。不幸な芸術家の姿は自分の通恨の念を入れた彼の絶筆である『齒車』にまでそのエコ―が響きわたる。

芥川龍之介の基督敎作品考察 : 背敎作品 お 中心 に A Focus on the Works of Apostasy

河泰厚 慶一大學校 1999 論文集 Vol.16 No.4

아쿠타가와의 작품이 항상 복안적임과 동시에, 또 그 주제는 중층적인 구조를 가지고 있다. 오가타료사이 각서에서는 딸의 생명을 구하기 위하여 기꺼이 십자가를 밟는 모친 시노의 고뇌를 그리며, 딸의 생명을 버리면서도 믿음을 지킬 것인가? 그 때문에 배교한 모친을 누가 배교로 재단할 것인가? 육신의 사랑을 넘은 무상의 사랑이 있을 수 있는가 하는 근원적인 물음을 작가는 하고 있다. 오긴에서는 실부모가 불교도로서 죽어 지옥에 떨어져 있는 이상 자기만 천국에 갈 수 없다고 배교하는 오긴데게, 이교도에게는 구원이 없고 지옹게 떨어질 수밖에 없는 종교적 도그마를 인간 보편의 문제로 받아들일 수 있는가 하고 작가는 묻고 있다. 이 두 베교의 고뇌를 두고 침통하게 필을 움직인 작가는 오시노에서는 거꾸로 자기 아들의 생명을 구하기 위하여 산부를 방문항여 십자가상의 그리스도의 연약함을 알고, 이에 실망하고 사라진다. 오가타료사이 각서와 같이 자기 지식에 대한 모친의 간절한 사랑을 제제로 했지만, 그리고자 하는 작가의 벡터는 거꾸로 작용하고 있다. 오시노를 그리는 작가의 눈은 차갑게 깨어 있고, 시노를 그리는 작가의 눈은 배교의 고통을 그려 뜨거운 데가 있다. 이 아쿠타가와의 냉열 양면의 눈은 모든 기독교 작품에서 번갈아 나타나고 있다.

日本古典演劇論 考察

河泰厚 中央大學校 日本硏究所 1993 日本 硏究 Vol.0 No.8

日本近代文學과 基督敎

河泰厚 대구보건대학 1992 대구보건대학 論文集 Vol.13 No.-

The modern history of the Japanese literature for a century can be called a process leading to the internalization and realization of the Christian thought. The Japanese literature has seen its completion of its internalization as a theme of its existence by Akutagawa, his predecessors Kitamura Tokoku and Simazaki Toson, beginning from such literary group in Meiji-Dynasty as Yokohama Band, Kumamoto Band, and Sapporo Band. Thereafter, the mainstreams of the Japanese Christian Literary tradition have succeeded to Endo Shusaku through Hori Tatsuo from Akutagawa in Catholicism and to Sina Rinzo through Dazai Osamu from Akutagawa in Protestantism respectively. The Akutagawa's literary tradition has been derived from the southern barbarian's desposition of the literary interest and has exposed his romantic attitudes such as martyrdom, miracles, existence, penitance and scepticism' from the view-point of the comparative cultural history. His literary works in this period mainly characterized by the Christian tradition contain 19 volumes, which account for 10% of all his works. Among others, “Saiho no hito” and “Zoku Saiho no hito”. Comparing “Saihono hito” with the four Gospels, we can also find the fact that it makes the most of almost all the chapters of the Gospel according to the St. Matthew. I contend that he wrote his work, “The Gospel of My christ” on the basis of the plot and content of Mattew. As we analyze Akutagawa's life and suicide attempt as well as all his works we can easily guess his view of art that ‘life is only a line of a Baudelaire’ judging from his art-for-art's sake or esthetic understanding of his art. The dictum that he was bound to give up his life for the sake of his genious, may prove itself that christ is his self portait or his other-self.