WEKO3
アイテム
トランスカルチュラルなテクスト ――阿部和重の初期作品における「エクリチュール」をめぐって
https://doi.org/10.24619/00003707
https://doi.org/10.24619/00003707c9bead52-433e-4cd7-ac54-1fb129106bd5
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
トランスカルチュラルなテクスト――阿部和重の初期作品における「エクリチュール」をめぐって (1.8 MB)
|
.png)
|
| Item type | 会議発表論文 / Conference Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2018-11-26 | |||||
| タイトル | ||||||
| タイトル | トランスカルチュラルなテクスト ――阿部和重の初期作品における「エクリチュール」をめぐって | |||||
| タイトル | ||||||
| タイトル | Transcultural Text : The‘Écriture’ of Abe Kazushige's Early Fiction | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 阿部和重 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 多文化的テキスト | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | エクリチュール | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | アメリカの夜 | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_5794 | |||||
| 資源タイプ | conference paper | |||||
| ID登録 | ||||||
| ID登録 | 10.24619/00003707 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
ロエマー, マリア
× ロエマー, マリア× ROEMER, Maria |
|||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | “Bruce Lee’s attitude as a martial artist was a critical one towards ‘martial arts’.” Based on its opening sentence alone, one would not be able to tell that Abe Kazushige’s 1994 debut novel “Amerika no yoru” is a story about Nakayama Tadao. Instead of telling ‘Tadao’s story’, the narrative begins with a detailed discussion of Lee’s criticism vis-à-vis his own craft, which spans eight pages. Tadao’s first name is introduced but on the second page of this debate by the narrator Watashi (I). This narratorial insertion of Watashi’s defines the Bruce Lee opening as an essay written by Tadao. The paper will analyze this ambivalence of the narrative, which leaves unclear what is ‘Tadao’s story’ and what ‘Tadao’s essay’, as a problematization of‘ writing’ that generally characterizes Abe’s early fiction. ‘Writing’ refers back to a deconstructionist understanding of the notion as coined by Roland Barthes and Jacques Derrida. Accordingly, the argument will explore passages destabilizing the notion of‘ genre’ in a Barthesian sense on the one hand. On the other, it will analyze sentences which deconstruct the linguistic sign’s dualist relationship of signifier and signified in a Derridian sense. Based on these various plays on formalization to be seen in his fiction, Abe is called “junbungaku’s last writer”. The paper will re-read the existing research on Abe from a comparativist perspective. In tracing the many quotations of European and North-American postmodern thought in“ Amerika no yoru” from a reader’s point of view, it will make a case for an international orientation of the novel and locate it within the theoretical frame of a transcultural literature. |
|||||
| 書誌情報 |
第４１回 国際日本文学研究集会会議録 en : PROCEEDINGS OF THE 41st INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE 号 41, p. 27-38, 発行日 2018-03-28 |
|||||
| 出版者 | ||||||
| 出版者 | 人間文化研究機構 国文学研究資料館 | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 0387-7280 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | ||||||
