@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002062,
 author = {サミュエル, 横地 淑子 and SAMUEL, YOKOCHI Yoshiko},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {6},
 month = {Mar},
 note = {pdf, For twenty-five years since his debut with "An Odd Job，" Ōe Kenzaburō has persistently pursued his main theme, authoritarianism and its effects on his contemporaries. Over the years, however, his definition of authoritarianism has expanded, from the power of the victors in World War II and of the Japanese government, to the stifling power of conventional values as symbolized by the continuing existence of emperorship.
Consequently, Ōe's approach to his theme, too, has changed. Characters in his early works outgrow their passivity and become more assertive, using their sexual instinct as a device. Their struggles, however, invariably end in defeat, forcing them to turn to a more introspective approach. In The Silent Cry and subsequent works, however, Ōe's approach changes drastically, toward a debasement of authority. His device is grotesque realism, which has been formulated by Mikhail Bakhtin, the Russian Formalist. With this transformation, Ōe's works become a parody of authoritarian history and contemporary reality. Incorporating the theories of Victor Shklovsky, another Formalist, Ōe's works also become highly polyphonic and discursive.
In this paper, I attempt to analyze and appraise Ōe's works since The Silent Cry on the basis of his adaptation of the Formalists' theories.},
 pages = {167--178},
 publisher = {国文学研究資料館},
 title = {研究発表（2）　大江健三郎とロシアン・フォーマリズム},
 year = {1983},
 yomi = {ｻﾐｭｴﾙ, ﾖｺﾁ ﾖｼｺ}
}