谷崎潤一郞の文學における背反精神と 「個人」

나승회 韓國日本語敎育學會 2004 日本語敎育 Vol.29 No.-

1910년대의 일본 신극과 레제드라마

羅勝會 중앙대학교 일본연구소 2015 日本 硏究 Vol.0 No.39

This study focuses on Tanizaki Junichiro’s Lesedrama “Birth” and “Shinzei” to further analyze the development of the modern new drama in Japan in the 1910s and the trend of Lesedrama. The 1910s was a period of time called the “Taisho Democracy” as the uprising interest in pop culture grew up into an age of innovation. Different types of modern creative play were being created during this time in the play business in Japan, developing great popularity in pop culture. Also, it is a big characteristic in the new play movement in Japan is that during the Taisho period, creative plays concentrated more on Lesedrama alongside with the trend of novelists writing and creating plays. Lesedrama became a trend in the Taisho period because of its liberal and open generation mindset embraced experiments and challenges. It was not a play for theatre, and it shows that it was taken in and accepted as a part of literature. In other words, it was made clear to the audience that plays were based on literary understanding and recognized Lesedrama as literature and a mean of expression. “Birth” and “Shinzei” are two literary works that has the characteristics of Japanese new drama and Lesedrama created in the 1910s. Created in the same period of time as Tanizaki’s first publication, “The Tattooer,” these plays are written in a drama format, which was unusual during the time. This shows that Tanizaki was ahead of his time and had ambition for literature. However, the plays were presented out to the public during the time when the difference between the mainstreams like Kabuki, soap opera, and Lesedrama were not properly distinguished. Despite the confusion, Tanizaki carried out writing both novels and plays, which later explains how modern new plays in Japan developed and struggled between literature and theatre.

1920年代を代表する女性像

나승회,김임숙 대한일어일문학회 2010 일어일문학 Vol.46 No.-

1910∼20년대 부산지역 일본어 신문에 대한 고찰 ― 「조선시보」 「부산일보」소재 연재소설과 근대 초기 부산의 문화적 양상 ―

나승회 한국일본어교육학회 2019 日本語敎育 Vol.0 No.89

This study focuses on the cultural aspect of early modern Busan by comparing two Japanese newspapers published in Busan area which were not addressed in precedent studies of the existing novel series, “The Chosen Jiho” and “The Fusan Nippo.”Contrastingly to most of the related researches that targets “Maeil Shinbo”published by the Japanese Government at that time (Korean newspaper) which is not damaged as much and is easy to decipher the articles, this study looks deeper into the Japanese newspapers in Busan area, “The Chosen Jiho” and “The Fusan Nippo” to examine the characteristics of Japanese serial novels in the 1910s and 20s. As a result, it became evident that all the writers of serial novels in “The Chosen Jiho”and “The Fusan Nippo”were Japanese who were students of Ozaki Koyo, a representative writer of pseudoclassical literature in the Meiji era whose fame gradually deceased from the literature mainstream. With the nostalgia for Japan embedded in their novels and lectures spread throughout early modern Busan that drove the colonial culture. The culture and sentiment of Japan are strongly expressed as serial novels and lectures in the “Novels” section advancing the spread and expansion of Japan culture in early modern Busan. In other words, through 1910s to 20s, Busan was actively engaged in modern material civilization from Japan while also was forced the emotions and culture of Japan which mediated through newspapers affecting the minds and ideologies of the people. This clearly represents the duality of the development of modern culture in Busan.

침략전쟁시기 친일 예술인의 변신에 관한 고찰

나승회 대한일어일문학회 2007 일어일문학 Vol.35 No.-

식민지 시기의 문학 담론과 일본어 신문의 전통시가 - 1910〜1920년대『조선시보(朝鮮時報)』의 운문 문예물을 중심으로 -

나승회 대한일어일문학회 2020 일어일문학 Vol.85 No.-

This study examines the literary discourse of The Chosen Jiho, a major media of early modern Busan and overviews the works of verse literature in The Chosen Jiho in the 1910s and 1920s. The role of local newspapers in the Japanese colonial period and the identity of modern colonial city Busan is exemplified by looking at the pattern of how Japanese traditional poetry, the ‘literary representation’ highlighted through literary discourse, was published in The Chosen Jiho as works of verse literature. As a result, it was possible to understand the colonial media policy through Japanese newspaper. In other words, the importance of literature and the need for literature education were emphasized commonly in the series of literary discourses published in The Chosen Jiho, and Waka, Japanese traditional poetry, is portrayed as literary representation. In fact, many traditional Japanese poetry were published in The Chosen Jiho in the 1910s and 1920s. Traditional poetry based on Tanka, Haiku, Senryu, and other Waka poetry have gone through transformations and was continuously published in newspapers. This tendency is mainly found in The Chosen Jiho and The Fusan Nippo and it especially stands out in the literary section of The Chosen Jiho. Generally, it is seen that provinces are less likely to be impacted by policy from the central government, but as the ideology of majority of editors in The Chosen Jiho was based on imperialism, it is inferred that the willingness to realize colonial imperialism in the province areas would have been stronger than other newspapers in that era. To disclose this fact, this study presents a list of “Verse Literature Series in The Chosen Jiho in the 1910s and 1920s – Tanka (Waka), Haiku, and other Poetry.” The traces of the expansion of colonial culture have been captured through the introduction of literary discourse, verse literature, and literature study groups in The Chosen Jiho. The literary discourse in The Chosen Jiho recommended Japanese poetry to be made into national songs, and used the verse literature to further spread Japanese traditional poetry.

谷崎潤一の文における聖人像と運命

나승회 대한일어일문학회 2006 일어일문학 Vol.30 No.-

谷崎潤一郞の文學における古典物と現代物の交替

나승회 일본어문학회 2006 일본어문학 Vol.33 No.-

<여성>과 <어머니>의 변주곡(變奏曲) -다니자키 준이치로(谷崎潤一郎)의 문학에 나타난 여성상(女性像)의 변화-

나승회 한국일어일문학회 2011 日語日文學硏究 Vol.77 No.2

本稿は既存の先行論文を通じて、<娼婦型-母婦型(良妻型)-母性>というふうに発展、帰着してきた谷崎潤一郎文学の女性像を再考してみたものである。すなわち、一般に言われる類型的な女性像から脱して、作品の中の女性が物語の裏面において自分の境遇を認識し、内面的に成長して、相手の男性を圧倒していく谷崎流の女の物語を追ってみたのである。その過程で、彼女たちの有り様が、男に君臨する魔性の<女>としての生き方、母婦型の妻、あるいは理想的な母性像などの区分を乗り越えて、自らの人生の方向を選び取るだけの自主性を持つ女性像に終結していることが分かってきた。というのも、谷崎文学は出発期から大正期において、いわゆる<娼婦型-母婦型>という女性像の対比が定着し、以後その対照的な女性像がパターン化して再生産されることが多かったが、(物語の裏面で)社会的に成功する『痴人の愛』のナオミと、自らの半生を顧みる『赤い屋根』の繭子の登場によって、娼婦型の女性の生に対する反省や自覚があらわれてくるようになった。しかも、昭和期に入ってからは、『卍』の園子と光子のように、,男性に経済的な援助を受けなくても裕福に暮せる女性や、『蓼喰ふ虫』の自ら離婚を決める美佐子、そして、夫の可愛がっている猫を利用して夫の愛情を奪い合おうとする『猫と庄造と二人のをんな』の二人の妻など、既存の類型的な女性像から抜け出て、多面的で、より写実的な女像に発展していっているのである。以後、昭和20年代の『少将滋幹の母』に至っては、自ら<女>としての生き方を選ぶ<母性>の出現を告げながら、谷崎文学の女性像は完結する。わけても、『少将滋幹の母』の前半を貫く北の方の「譲渡事件」の眞相を把握する過程で、母を取られた滋幹の思慕の対象としての<母─北の方>の虛像と、冷静に男性を分別し、時の権力者の左大臣を選ぶ<女─北の方>の隠された実像がないまぜになっている点はもっと注目されてよい。以上のように、谷崎文学における女性像の変化を、「美」の対象から自覚する女像への変貌と多面的な女性への発展、<女>の道を選ぶ母性像の出現というふうに整理するならば、最初マゾヒズムの男の物語を浮彫りにして出発した谷崎文学が徐々にそのマゾヒズムの対象であった女の成長の内実を描く方向に移っていったのが分かる。

일본근대 소설가의 희곡 창작 - 다니자키 준이치로와 미시마 유키오의 희곡 창작에 대한 비교연구를 중심으로 -

나승회 일본어문학회 2019 일본어문학 Vol.84 No.-

The purpose of this study is to examine Shingeki drama creation characteristics of Tanizaki Junichiiro and Mishima Yukio, and to examine the aspect and importance of Japanese Shingeki Drama from the point of view of drama creation by novelists. The results of the study are as follows. Tanizaki led the era of the Taisho drama by releasing the drama ‘Lesedrama’, and Mishima had a great influence on dramaturgy since the 1950s as a ‘drama of dialogue’ in which the drama was centered around dialogues between characters. In other words, Tanizaki focused on the drama as literature, and Mishima focused on the composition of the drama considering stage performance. The two writers expressed opposing views of the drama, but it is understood that they attempted to express literary expression in the form of literature other than novel. Although Tanizaki and Mishima created plays at different times, the plays of the two novelists in common show the Japanese dramatic literature patterns that have developed in communication with the literary world. 明治、大正、昭和期における小説家の戯曲創作の様相は、日本近代創作劇の特徴的な一面である。本論文では、日本の近、現代を代表する小説家として知られてきた谷崎潤一郎と三島由紀夫の劇作家としての姿に注目して谷崎と三島の戯曲創作の背景を探り、日本近代創作劇を小説家の戯曲創作の流れの中で把握してみた。 その結果、谷崎の戯曲創作が大正期前後の‘読む戯曲’いわゆるレーゼドラマの拡散を主導し、近代初期に展開された小説家の文学的な性向の劇作活動を反映していることが分かるようになった。一方、‘対話の戯曲’を標榜した三島は、登場人物の交わす会話の緊張感を媒介として演劇の美を確立し、実際の上演を前提とした戯曲の時代を展開している。 つまり、谷崎と三島は戯曲創作の方法においてお互いに相反しといるものの、戯曲という表出様式を以て、各時期の近代創作劇の成立と発展に寄与していたと言える。本論文では谷崎と三島の劇作家としての力量を再評価した上で、文壇との疎通の中で発展してきた日本劇文学の一面を再照明してみたのである。