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- 저자 : ( Yano Takayoshi ) (검색결과 36 건)
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( Yano Takayoshi ) 한국일어일문학회 2013 日語日文學硏究 Vol.87 No.2
本稿は日本古代の祭の遊びにおける性と近世の遊廓における性の類似性に着目し、北村透谷の粹論を日本古代の祭で歌われた古代歌謠に照らしあわせて分析することで粹の遊びとしての性格を明らかにしようとしたものである。粹は江戶時代に遊廓を母胎として形成された性を遊戱とする町人文化である。これは男女が戀を演じ、性愛を享樂しようとしたものであり、男女があくまで遊びのために關係することを理念としている。これは古代の神婚儀禮の神遊びを繼承したものと言え、日本古代の色好みの理念から來ていると思われる。 透谷はまた社會的に疎外された人間が現實を逸脫するために遊廓を求めた側面を指摘した。身分的に最低の地位にあった町人がその精神的苦痛の出口を遊廓という非日常世界に求めたというのであるが、古代の祭においても同じことが言える。古代社會で最低の立場にあった農民たちはその苦しい生活を忘れるために祭という別天地に自由を求めた。このようにして祭りの民俗を背景に尋常でない性の遊びが非日常的世界において公然と行われたと言える。 Tokoku Kitamura said that Sui idea in the modern period came from Huga idea in Heian period in Japan. Huga means the refined taste which is one of the element of Irogonomi, amorous character in 10th century. Tokoku pointed out the character as the play between man and woman in Sui idea. Man enjoy the pleasures of the senses with woman in special time and special space. Man and woman play the role of lover just one night. Their relationship is always temporary. They do not want to continue their relationship. This is the character of Sui between man and woman. In ancient Japanese festival there were sexual festival. In this festival people played the role of lover each other just one night. This play came from the ceremony of marriage between gods and virgin. This was the magic rituals for breeding of children and fertility of farm products. Sui idea has the same character of play as ancient Japanese festival such as Kagai. Because they play love affair as if they were lover but they must not love each other seriously.
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The Struggle of Love for Peace
Yano Takayoshi 대한공간정보학회 2008 한국지형공간정보학회 학술대회 Vol.2008 No.12
The theme of FAUST play is the struggle between love from God and lust which is made by the devil, Satan. Faust fell due to desire but his satisfaction changed to suffering. Finally he came to his senses of true love. The motif that the devil changes to man and leads woman to temptation to covet her body is common in the literature in Korea and Japan. Japanese Kagai is an old play which celebrates fertility and breeding in the farming festival in the year. Man plays god who visits a virgin to marry with her one night. Woman waits for a visiting of god and accept it in the play of festival. They sing songs which are transmitted from the old times. They enjoy it all night and part in the morning. On the other hand, Song of Cho-jong is a song which has been sung in the spiritual event in Korea historically. The devil which has lust for the wife of Cho-jong visits her home when Cho-jong is not at home and he unites with her. At that time Cho-jong returns home. They are caught in the act in front of Cho-jong but Cho-jong leaves there without saying anything. His action is only singing a song and dancing. The Devil is much moved to generosity of Cho-jong and repents his deed immediately in front of him. The purpose of the devil which appeared in FAUST, Kagai, Song of Cho-jong are all same. Their aim was to have sexual relationship with women. And they did it borrowing the body of man. In the western world it is called the devil and in the east it is called god. But we can regard it as Satan because they tempt human to adultery. We can see that Satan makes woman fall to disrupt her love and peace.
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시야존의 ( Yano Takayoshi ) 한국일어일문학회 2007 日語日文學硏究 Vol.61 No.2
透谷末期の自然の槪念は、それまでの透谷の自然槪念と違って物質的自然槪念(nature)に近づいている。そしてそれと共に彼の二元論が、統合に向かうという結末を見ることができる。透谷が生涯、文學活動を通して戰ってきた靈魂と肉體の二元論的戰いは、末期の作品において最後に終結を見るのである。透谷が最後に到達した思想は、心と體の一致であり、彼が始終惱んできた二元的葛藤を統合する一元論であることがわかるのであるが、この一元論はドイツ觀念論を成しとげ、ドイツロマン主義と現代哲學に新しい道を切り開いたシェリング(Schelling)のドイツ觀念論的一元論と類似したものであることがわかる。二元論的觀念論者であった彼らは、二元論を放棄して汎神論的一元論を選んだのではなく、二元論の統合としての一元論に到達したのである。透谷を理想主義者として始まり、死を前にして汎神論者に轉落して生涯を終わったという評價がある。しかし、今回の硏究によって透谷末期の思想は、彼らが言うような汎神論的一元論ではないことが明らかになった。したがって透谷は、作品の上では彼の信念を貫徹したのである。そういう意味で彼は敗北したのではなく勝利した。以上、本稿では透谷末期の一元論がシェリングの觀念論一元論と類似していることを明らかにするに留まる。透谷末期の思想がシェリングの觀念論一元論と類似しているその理由については、次の硏究の課題としたい。
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『히간스기마데』의「스나가의 이야기」에서 본 억압과 도피 - 스나가 이치조의 이성애 -
야노다카요시 ( Yano Takayoshi ) 한국일어일문학회 2018 日語日文學硏究 Vol.106 No.2
본고는『히간스기마데』의「스나가의 이야기」에 나타난 스나가 이치조의 이성애를 억압과 도피라는 심리적 관점에서 분석한 것이다. 스나가는 여성에게 언제나 부정적인 태도를 취하고 자신의 욕망을 억압하고 욕망으로부터 도피하고 있다. 이성애에 대한 스나가의 억압과 도피는 그의 출생을 둘러싼 그의 죄의식에 의한 것으로 볼 수 있다. 자신이 남녀사랑의 실수로 태어났다는 죄의식이 그의 여성에 대한 욕망을 억압하고 이성을 사랑하는 것을 방해하고 있다. 그가 치요코를 사랑하지 못하고 그녀와 결혼할 수 없는 것은 그의 마음속에 이와 같은 이성애에 대한 억압과 이성으로부터 도피하려는 심적 외상이 있기 때문이다. Until now the character and works of Soseki were studied by the aspect of egoism or mental disorder. Even thou there were many argument about unusual character of Sunaga in the literature of Higansugimade, the reason why he could not get marry to Chiyoko is not clear. Sunaga always assumes the negative attitude to woman. Because he oppresses his sexual desire and he tries to escape from this kind of desire. Many people say that Sunaga’s abnornal reaction to Chiyoko causes from his egoism or introversive character or neurosis. But even thou the sense of guilt of Soseki and his work were argued many times, the relationship between sexual desire and sense of guilt of Sunaga was not refuted. These oppress and escape from sexual desire occurred to Sunaga by the sense of gilt to his secret birth. In this way his sense of sin to sexual desire oppresses him and makes him try to escape from sexual desire, or love from woman.
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