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Permalink : http://doi.org/10.24619/00003310
研究発表 永井荷風が描いたサウンドスケープ ――昭和初期の作品における音の図象性――
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| 研究発表 永井荷風が描いたサウンドスケープ ――昭和初期の作品における音の図象性―― |
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研究発表 永井荷風が描いたサウンドスケープ ――昭和初期の作品における音の図象性――
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| JaLC DOI | info:doi/10.24619/00003310 |
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| アイテムタイプ | 会議発表論文 / Conference Paper |
| 言語 | 日本語 |
| キーワード |
永井荷風, サウンドスケープ, 音風景 |
| 著者 |
フォッラコ・ ガラ・マリア
/ フォッラコ・ ガラ・マリア
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| 抄録 |
It is very well known that urban spatialities play a crucial role in Nagai Kafū’s oeuvre. As scholarship both inside and outside Japan has demonstrated, the world described by Kafū is first and foremost an urban world. Urban space, in his work, does not only encapsulate manyfold and deep meaning, but helps clarify important themes related to the broader one of “modernity”, such as “self”, “society”, and “identity”.
Further, the significance of sound ― especially music ― in his literature has been thoroughly discussed, showing to what extent this author valued music and incorporated it in his writing, from the juvenile years he spent abroad through his most representative novel ― A Strange Tale from East of the River （1937）. This paper draws on the “Soundscape” theory formulated by R. Murray Schafer and others in order to analyze the form and function of urban sounds in Kafū’s representation of Tokyo in the fast-changing context of early-Shōwa Japan. In particular, it focuses on the soundscapes described in “The Voice of the Bell”, “The Ditch” and “Notes from Terajima”（1936） with the aim of discussing his literary influences and the relationship of these zuihitsu with A Strange Tale, and to gauge the impact of modern urban transformations on Kafū’s writing. |
| 雑誌名 | 国際日本文学研究集会会議録 |
| 号 | 40 |
| ページ | 92 - 83 |
| 発行年 | 2017-03-24 |
| 出版者 |
国文学研究資料館
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| ISSN |
0387-7280
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| フォーマット |
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