芥川龍之介「玄鶴山房」論 - <離れ>という空間(トポス) -

( Hayasawa Masato ) 한국일본근대학회 2018 일본근대학연구 Vol.0 No.60

本論は、芥川龍之介「玄鶴山房」(初出「中央公論」1927年1、2月)における、主に「離れ」という空間に着目して考察したものである。というのも、芥川文學では、しばしば「隅っこ」という、薄暗いじめじめした空間が描かれることが多いが、「玄鶴山房」における「離れ」もまた、この「隅っこ」に屬するものになる。「隅っこ」は、トポロジ一では、母胎や子宮の表象のような場所として機能するといわれているが、病床にある主人公もまた、そのような子宮(離れ)という空間のなかにあるといえる。もっとも、母胎ㆍ子宮の表象空間といっても、本作の場合、母性は「正」ではなく、「負」の意味で用いられているのが特徵的である。主人公は、「離れ」(子宮)という病床にとじ迂められた狀態にあり、そこで甲野という他人の不幸を享樂する嗜虐趣味をもった太母(恐ろしい母)によって、間接な嫌がらせを受けながら、最終的に衰弱していき、死んでしまう。從來の硏究では、本作は「地獄よりも地獄的な世界を描いた作品」――あるいは「芥川晩年の陰鬱とした心象風景が描かれた作品」などといわれているが、その「地獄的」な世界とは、具體的には「齒車」や「河童」などにもみられる<女嫌い>的なモチ一フから派生しているのではないか。 This paper discusses Ryunosuke Akutagawa’s Genkaku Sanbo (first appearance in in “Chuo Koron”) with a focus on a space called “hanare” that appears in the work. In Akutagawa’s literature, there are often descriptions of a gloomy and damp space called “sumikko” (corner). “Hanare” in Genkaku Sanbo is a type of “sumikko.” It is said to function as a place that represents a mother’s womb in topology. We can say that the lead character, who is bedridden due to illness, is also in a womb-like space (hanare). It may be a space that represents a mother’s womb, but this work is distinctive in the way it uses motherhood in a “negative” sense. The lead character is confined to a bed in “hanare” (womb), becomes weak, and eventually dies. All this while he is being indirectly harassed by named Kono, with a sadistic nature. Traditional studies argue that this work “depicts a more hellish world than hell itself” or “portrays Akutagawa’s somber imagined scenery in the last stage of his life.” But this “hellish” world may have been derived from the “misogyny” motif seen in Haguruma and Kappa.

日本語教育と創作 ―物語のパロディー創作授業―

Hayasawa Masato 한국일본문화학회 2024 日本文化學報 Vol.0 No.102

本稿は、筆者が提唱している「ライティング・スタディ」の授業の一例である。「ライティング・スタディ」というのは、決められたパターンに則って、日本語で物語を創作する授業の事をいい、日本語作文能力だけでなく、クリエイティブな思考を養うことを目的としたものである。筆者はそのような目的意識のもと、これまで「それから式」、「しかし式」、「たけとり式」、「うらしま式」、「なぜか式」など、さまざまなパターンに従って、物語を書かせる授業を学生に対して行ってきた。また「絵画批評文」や「架空旅行日記」などの創作授業も行い、それらの授業成果を様々な媒体で報告してきた。今回紹介するのは、そうした「ライティング・スタディ」のパターンの一つで「もしも式」という創作法になる。これは簡単にいうと「パロディー」の手法に基づいた創作法の事である。つまり、有名な昔話や童話などの設定や状況を変えて、全く違う話に作りかえるというものである。しかし、実際にこの授業をやってみると、ただ原話の設定を変えただけで、新しい主題や趣向のない模倣話になってしまうことが多く、創造性に欠けてしまうことが多かった。様々な試行錯誤を経た結果、原話を「面白い話」「笑い話」に作り変えるよう指示してみた。すると、新しい趣向や主題を備えた創造的な話を書き始めるようになった。本稿は、そのような「もしも式」の「ライティング・スタディ」の教授法についての紹介と、学生たちが書いた物語文とその変化過程を紹介する授業報告書である。 This paper presents an example of the “Writing Study” class proposed by the author. The Writing Study class involves students creating stories in Japanese according to a set pattern to foster both Japanese writing skills and creative thinking. With this aim the author conducted classes where students were asked to write stories following various patterns, such as the “And-style” “But-style,” “Taketori-style” “Urashima-style” and “Why-style” Additionally, creative writing classes, such as “Critical Writing on Painting” and ”Fictitious Travel Diary” were conducted, with results reported in various media. This paper introduces one of the patterns used in these “Writing Studies” called the 'If-style' method. Simply put, it is a creative writing method based on the technique of “parody.” Specifically, the setting or situation of a well-known folktale or fairy tale is changed, and the story is made into something completely different. However, when trying this class, we often found that changing the setting of the original story resulted in a copycat story without any new themes or atmosphere, lacking creativity. After various trials and errors, the author instructed the students to remake the original story into an “interesting” or “funny” story. They then began to write creative stories with new flavors and subject matters. This paper is an introduction to the “If-style” method of teaching “Writing Studies” and presents a class report featuring the narrative texts written by the students and the process of change.

神経描写のレトリック: 芥川龍之介「お富の貞操」試論

Hayasawa Masato 한림대학교 일본학연구소 2024 翰林日本學 Vol.0 No.44

本稿は神経描写というテーマで、芥川龍之介の「お富の貞操」について論じたものである。管見に及ぶ限りでいうと、神経描写はこれまで具体的に論じられてこなかったレトリックであるが、藤井淑禎によれば、それは 「病的なまで」の「感覚の鋭敏」性が表れた表現描写のことであるという。藤井はそれ以上の言及をしていないが、筆者は藤井が例として挙げている文章の分析をもとに、「禁止」と「抑圧」が同時に起こる緊張した状況の中で、その緊張状態にさらに病的な不安を煽るような描写を付加すると、通常よりも刺激の強い感覚として認知されるのではないかと考え、それを神経描写のレトリックと定義した。この神経描写のレトリックは、芥川後期文学にも多用されており、その文学を特徴づけているが、今回、取り上げる「お富の貞操」でも、ヒロインの貞操をめぐる男女の駆け引きの中に、そうした神経描写の多様が認められる。この作品では神経描写を通すことで、男女の心理的な駆け引きが、言語化出来ない、動物的な駆け引きのように描かれる。こうしたレトリックは、芥川の初期作品から認められるが、後期になるほどその強度がより強くなっていく。本稿は芥川の準処女作とされる初期作品の「羅生門」と比較しながら、初期から後期にかけて芥川のレトリックが、どのように変容したのかという面に着目しつつ、専ら表現の面から「お富の貞操」を考察するものである。 This article discusses Akutagawa Ryunosuke’s “Otomi-no-Teiso” on the theme of neurodescription. According to Fujii Hidetada, neurodescription is a rhetoric that has not been specifically discussed, but it is a descriptive description that expresses a ‘morbidly’ ‘acute sensibility’. Although Fujii makes no further reference to this, the author, based on an analysis of the texts Fujii cites as examples, believes that in a tense situation where ‘prohibition’ and ‘repression’ occur simultaneously, if a description is added to this tense situation that further incites pathological anxiety, it may be perceived as a more stimulating sensation than usual, defined it as the rhetoric of neurodescription. This rhetoric is used frequently in “Otomino-Teiso”, which is the subject of this article, a variety of such neurodescriptions can be observed in the bargaining between the sexes over the heroine’s chastity. Such rhetoric is recognisable from Akutagawa’s early works, but the intensity of this rhetoric becomes stronger in his later works. This article examines “Otomino-Teiso” from the perspective of expression, focusing on how Akutagawa’s rhetoric changed from his early to his late works, comparing it with “Rashomon”.

芥川龍之介「地獄変」論 -地獄よりも地獄的な世界の現出-

Hayasawa Masato 한국일본언어문화학회 2023 일본언어문화 Vol.64 No.-

This paper discusses Ryunosuke Akutagawa’s “Jigokuhen” as a horror story. As Yasuhiro Imaizumi (2010) states, although “Jigokuhen” has the elements of a ghost story, it is narrated as if a mystery is gradually unfolding rather than merely telling of a ghost . Specifically, the narrator first mentions the horror of ghost stories by quoting a ghost story, then gradually turns to Yoshihide’s insanity and horror as a painter after he received the order to produce the “Jigokuhen” folding screen. Nonetheless, since Yoshihide “can only paint what he has been able to see with his own eyes,” he produces various scenes imitating hell in the real world, through which the world that exists on the other side (that world) gradually appears on this side (this world). Ultimately, his master burns Yoshihide’s daughter to death in front of him, and it is at this point that the horrors of the “scene of hell” presenting themselves to the world are spoken of. However, Yoshihide—who is ecstatic at the beauty of the sight of his beloved daughter burning to death—reaches a state of ecstasy that transcends hell. Akutagawa is said to have written works resembling horror stories throughout his life. In the early days of his writing he depicted “ghostly horror,” but his work gradually transitioned to “the horror of insanity.” If this is accurate, then “Jigokuhen” can be positioned as symbolizing the period of his transition from “ghostly horror” to “the horror of insanity.”

物語創作と日本語教育 -「走れメロス」の話型を用いたお話づくり-

Hayasawa Masato 한국일어일문학회 2018 日語日文學硏究 Vol.107 No.1

This paper is a lesson report on Japanese language education through creative writing. The author has published several articles on incorporating creative writing into Japanese language education. However, their basic method cited narratology theory while considering stories through their patterns. Specifically, this pertained to fictional works that follow story patterns such as the “Taketori (bamboo cutter) formula” or the “Urashima (the fisher boy) formula.” In the present paper, the new lesson was to use the “Shikashi (however) formula” to write a story. The “Shikashi formula” is a type of story similar to Osamu Dazai’s “Run, Melos!” in which “the more critical the situation becomes, the more the resolution is prolonged.” A consideration of stories that follow this pattern is suitable for learning about climax and dramatic composition. This paper pays close attention to those points at the same time as introducing the expansion of lectures using the four skills of the Japanese language (reading, writing, listening, and speaking) in the form of 1. “reading” of the work, 2. “dialogue” through relay-style storytelling, and 3. the “creation” of the actual story, while examining the reality of creative lessons and precautions when creating a story. 본고는 <이야기 창작을 통한 일본어 교육>의 수업보고서이다. 일본어교육 안에 창작을 도입한 시도로서, 필자는 지금까지 다양한 논고를 발표해왔으나, 그 기본적인 방법은 내러톨로지의 이론을 수용하면서 소설의 화형(패턴)에 따른 스토리를 생각하는 것이었다. 구체적으로는 '다케토리식'과 '우라시마식' 등 모노가타리유형을 따른 창작에 해당되지만, 이번에는 새로운 '하지만식'이라 하는 새로운 패턴에 따라 작문을 해보는 수업을 진행하였다. '하지만식'이라는 건, 다자이 오사무의 '달려라 메로스'와 같이 '상황이 위기에 다다르면 다다를 수록 해결이 지연되는 타입'의 이야기 형식이며, 이러한 패턴에 따른 스토리를 생각하는 건 클라이맥스와 드라마틱한 구성을 배우기에 적합하다. 본고는 그와 같은 점에서도 유의하며, ①작품의 '읽기'와, ②릴레이식 스토리텔링에 의한 '회화', ③실제 이야기의 '창작' 등──일본어의 네 기능(읽기・쓰기・듣기・말하기)을 인용한 강의 전개를 소개하고, 창작 수업의 실태와 창작 시 주의점 등에 관해서 고찰한 것이다.

「蜘蛛の糸」論‒「話らしい話のない小説」との関連をめぐって‒

Hayasawa Masato 한국일본근대학회 2022 일본근대학연구 Vol.- No.76

「蜘蛛の糸」(初出「赤い鳥」大正7年7月)は、芥川龍之介がはじめて書いた童話として有名である。その主題については、昔は「勧善懲悪」「因果応報」などという教訓譚として読まれてきたが、近年では、犍陀多を「悪人」というより、「人間一般の存在」と捉え直し、蜘蛛の糸を垂らしたお釈迦様の行為の不可解さに注目する論考が増えている。筆者もこうした先行論の流れに沿いつつ、「極楽/地獄」と対照的に描き分けられている二つの世界に注目し、その違いを考察した。結論的にいえば、「極楽」にはドラマ(物語)がないが、「地獄」にはドラマ(物語)がある。そうして、犍陀多を主とする人間のドラマを否定するかのように、何の変化もなく佇んでいる極楽の世界は、芥川晩年の「話らしい話のない世界」――物語性のない世界のプロトタイプとなっているのではないだろうか。本稿はそうした問題を見据えながら、本作の極楽の特徴を、原典などとも比較しつつ、論じたものである。

日本語教育におけるアニメ教材の活用 - 「千と千尋の神隠し」「君の名は。」における神道文化-

Hayasawa Masato 한국일본어문학회 2023 日本語文學 Vol.97 No.-

This paper analyses the films “Spirited Away” and “Your Name,” examining how these animated films can be used as teaching materials for Japanese language education. First, in “Spirited Away”, the heroine is assigned to work in a bathhouse where eight million gods with impurities gather and are offered omotenashi (hospitality). It is a story of misogi: the washing and purifying of the body. This work is based on the Shinto idea that the eight million gods found in nature in Japan are reborn through the process of purification. For this reason, it may serve as supplementary material or a reference for teaching Japanese culture. It is also an example of ikyō hōmontan (story of visit to another land) and nandai muko (story of making an unreasonable request), and thus may be applied to the field of literature. In this paper, I propose a creative class based on “Spirited Away”. “Your Name”, shares the same Shinto ideology as “Spirited Away”. Representative of this is the concept of musuhi (life-producing spirits). Musuhi is to connect and link people together, and by doing so, form new relationships. Considering these themes, this work may also serve as reference material for understanding Japanese culture. This work was also considered ingenious in its media strategy. For example, if one looks at poster advertisements, one sees a scene that could not occur in the main story, which has the effect of misleading the viewer in their anticipation. For this reason, this paper proposes a Japanese language education class using posters. The two animated films I have chosen are not only representative of Japan, but are also highly regarded in South Korea. Most students have already watched them. therefore, they are compatible with Japanese language education and should be actively used, as they may help motivate learners.

芥川龍之介「奇怪な再会」論 - 境界をめぐる物語 -

Hayasawa Masato 한국일본어문학회 2023 日本語文學 Vol.99 No.-

本論は芥川龍之介の「奇怪な再会」を「境界」をキーワードにして読んだものである。民俗学でもよく知られている通り、境界というのは、「内/外」、や「生/死」、「現世/他界」などといった「二つの世界の間」のことである。そこは日常生活とは異なり、多義性を含んだ特殊な所であり、新しい価値の統合などを生み出す場所ともされている。 さて、ヒロインの発狂を描いた「奇怪な再会」も「正気/狂気」の境界をはじめ、話を語り伝える様々な人達の「嘘/事実」の境界、物語が展開される「年末/正月」という境界、舞台となる「本所」という場所のもつ境界など、様々なところに「境界」のモチーフを見出すことが出来る。もちろん、最終的に発狂していくヒロインのお蓮も同様である。中国人でありながら、日本人の格好をさせられるという民族的アイデンティティの境界(中国人/日本人)、行方不明の恋人の「死/生」のあわいで悩み続ける境界、ほか「常態/変態」なの境界など――ヒロインのお蓮もまた境界にいるといってよい。このような「奇怪な再会」は境界をめぐる物語なのである。 This article discusses Ryunosuke Akutagawa’s Kikai na saikai (strange reunion), using kyokai (border) as the keyword. As is well known in folklore studies, a border is the space between two worlds, as in the cases of “inside and outside”, “life and death,” and “this world and the other world.” Unlike the realm of daily life, it is a special place with multiple meanings where new values are integrated. The border motif appears in various places in Kikai na saika, which depicts the process through which the heroine becomes insane. There are borders between “sanity and insanity,” between the “falsehood and truth” of the various story tellers, and between “the year-end and the New Year” when the story takes place. There is also a border at the place called “Honjo,” the scene of the story. The same is true of Oren, the heroine who eventually loses her mind. There is a border between two ethnic identities (Chinese and Japanese), as Oren is forced to dress like a Japanese woman even though she is Chinese, as well as a border between life and death, as she is troubled by the unknown whereabouts of her lover. In addition, there is a border between the normal and abnormal. Oren lives on such borders.And the “strange reunion”is a story of boundaries.

'ポストモダン'以降 -「見える世界」から「見えない世界」へ-

Hayasawa Masato 한국일본근대학회 2019 일본근대학연구 Vol.0 No.64

In this paper, I investigate the postmodernism in Japan, considering both its status from the 1980s to the present and what may be referred to as a coming post- postmodernism rooted in an anticipated fourth industrial revolution. In Japan, a key feature of “modernity” was the inculcation of a common purpose among the citizenry, such as building a “Rich Country, Strong Army,” as the slogan put it, or economic growth, this goal was more or less achieved in the 1980s when 200 Yen surpassed the value of one US dollar. The achievement of this goal can be understood as the “maturation” of Japan into a so-called modern state. However, at the same time, it also meant the loss of a national goal. This resulted in the fracturing of the people into different groups and a related process whereby various values and methods of organization were relativized or dismantled. For example, if you look at the Japanese online bulletin board “2channel,” you can see that the truth has been decentralized like a mosaic, with various people arguing whether certain facts are true. This is related to the flood of international fake news embodied by the new word “post-truth.” However, the relativistic values and confusion associated with a Post-modern condition may be overcome in the future by AI and IT realizing “automation.” This is because a large amount of information may be evaluated by AI or similar programs to obtain optimal solutions. 本稿は、日本の80年代以降における<ポスト・モダン>状況を分析しつつ、来るべき第四次産業革命後の<ポスト・モダン以降>の時代まで射程に入れて考察を加えたものである。日本における<近代(モダン)>とは、国民が「富国強兵」「経済成長」など、共通の目標をもっていた時代をいうが、それは80年頃に1ドルが200円を切った段階で達成される。こうした目標の達成は、日本の近代国家としての「成熟」を意味するが、それは同時に国家的な目標の「喪失」でもあった。国家的な目標の喪失は、国民をバラバラにし、それともに様々な秩序や価値も相対化され、解体されてしまった。たとえば、日本のネット掲示板「2ちゃんねる」などをみると、様々な人が嘘か本当か分からない意見を主張しあい、真実がモザイクのように脱中心化されてしまっている。このことは、近年「ポスト真実」などという言葉にみられるような、国際的なフェイクニュースの氾濫とも関係している。もっとも、そうした<ポスト・モダン>状況下における価値の相対化や混乱は、今後AIやITによる「オートメーション」化によって克服されていくきっかけを得るかもしれない。膨大な情報は、AIなどによって最適解が出され、解決されるかもしれないからである。

谷崎潤一郎「途上」論 -〈境界〉をめぐる物語 -

Hayasawa Masato 한국일어일문학회 2016 日語日文學硏究 Vol.99 No.2

This study presents a reading that focuses on the problem of urban space that forms the backdrop of Jun’ichirō Tanizaki’s Tojō (first published in Kaizō, 1920). As popularly known, Tojō tells the story of the protagonist Yukawa, who is suddenly confronted by Andō, a detective. Yukawa is blamed for murdering his ex-wife and pretending that her death was an accident. By drawing attention to the problem of urban space that forms the backdrop of this story, it becomes evident how frequently the scene of the protagonist and detective conversing while crossing a bridge is depicted. What does this setting, which can be called “bridge building,” represent? The answer seems to lie in something referred to as “boundaries” by folklore studies. In fact, many entities in this story exist in a realm of unclear boundaries. Specifically, there is neither any direct evidence for the protagonist committing the murder nor any certainty as to whether he had murderous intent. In addition, it is unclear whether his ex-wife’s death was inevitable. Here, various “boundary states” between binaries such as “guilt/innocence,” “falsity/truth,” and “accident/inevitability” can be seen. The spatial setting of “bridge building,” which forms the backdrop of the story, is not only linked to but also a symbol of the story’s theme of “boundaries.” In other words, Tojō is a story about “boundaries.” 이 글은 다니자키 준이치로의 「途上(도상)」(첫 등장「改造(개조)」1920년) 을, 작품의 배경이 되는 도시공간의 문제에 주목해서 읽은 글이다.알다시피, 「도상」이라는 이야기는, 주인공인 유카와에게 어느 날 갑자기 탐정인 안도가 나타나, 유카와가 우연을 가장해서 전처를 살해했다고 규탄하는(비난하는) 이야 기이지만, 그러한 작품의 배경이 되는 도시공간의 문제에 주목해서 살펴보 면,이 작품에서는 주인공과 탐정이 「橋(다리)」를 건너면서 대화하는 장면이 빈번히 그려지고 있음을 엿볼 수 있다. 그렇다면, 이런 <橋づくし(*づくし 그 종류의 것을 전부 열거함, 투성이 / 다리투성이)> 라고 말하고 싶을 정도의 설정은 무엇을 나타내고 있는 걸까? 라고 묻는다면, 그것은 민속학에서 말하는 「경계성」을 상징적으로 나타내고 있다고 생각된다. ――실제로 본 작품에서는 다양한 요소가 애매한 경계의 갈림길에 놓여있다. 구체적으로 말하면, 주인공이 살인을 한 건지 아닌지에 대한 직접 적인 증거가 아무 것도 없고, 주인공에게 살의가 있었는지 아닌지도 분명치 않다. 또, 전처의 죽음이 필연적이었던 건지 아닌지 역시 불분명하다. ―― 거기에 <유죄/무죄>, <거짓/참>, <우연/필연> 이라고 하는, 대립적인 다양한 요소가「경계」에 놓인 상태를 발견할 수 있다. 작품의 배경이 되는 < 橋づくし>라는공간설정은 이러한 본 작품의 주제(경계)와 연결되어 있고, 이를 상징하고 있다고 생각할 수 있다. 「도상」은, <경계>를 둘러싼 이야기인 것이다.