@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002032,
 author = {クック, ルイス and COOK, Lewis},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {4},
 month = {Feb},
 note = {pdf, The kaimami scenes of the Ujijūjō are considered in terms of their function in the construction of plot and in the definition of the ‘point of view' (consciousness) of Kaoru as hero. The difficulties presented by the kaimami scenes in Genjimonogatari and particularly in the Uji chapters were noted by Imai Gen'ei in his article on kaimami in early monogatari.Imai argues that in Genjimonogatari, the kaimami scene is developed in excess of the requirements of plot, becoming a kind of spectacle which digresses from the line of the story.
The kaimami scenes considered here are those of the Ujijūjō of which Kaoru is subject (in Hashihime, Shiigamoto, Yadorigi, Kagerō.) The suggestion offered is that these scenes should be read less in terms of their function in the plot than as serving to define the position and the ‘point of view' of Kaoru as a defective hero, by complicating the distance between Kaoru and the female characters while establishing limits on his reliability as an interpretant (and thus as a focal consciousness. ) To the extent that they are, indeed, spectacle, the kaimami scenes place Kaoru in the compromised position of spectator. This is consistent with and emblematic of the theme of the defective or problematic hero, which is a major concern of the Uji chapters.},
 pages = {43--50},
 publisher = {国文学研究資料館},
 title = {研究発表 宇治の垣間見について},
 year = {1981},
 yomi = {クック, ルイス}
}