@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002084,
 author = {盧, 英姫 and YＥＯＮＧ, Yeong Hee},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {8},
 month = {Mar},
 note = {pdf, Shimazaki Tōson, who wrote many works centering on his own 'House'， can be called an auto biographical writer. Five of the seven long novels he left us are based on his 'House'. In order to qualify Tōson's 'House'， to which he devoted so much attention, I have tried here to analyze his work le and, furthermore, have attempted a comparison with Samdae by the Korean writer Yeoum Sangsou.
In le Tōson faithfully describes people suffering from the heavy burden of maintaining their 'House'， together with the main characters who either escape or try to escape. Briefly, le is about a 'House' devoid of meaning for the people of that time. Likewise, in Sangsoup's Samdae，'House' appears as a fetter in the life of the chief characters who find it hard to bear this burden and therefore seek a solution in flight.
Thus le and Samdae, share the theme of burdensome 'House' and that of escape. Another common feature is the fact that the characters suffering from this load have been educated in the new style and they take only a critical attitude toward the 'House'. Furthermore, their female partners from an interesting contrast, in so far as they are persons trying to maintain traditional values.
It is conceivable that the common points arise from the common Confucian background. The 'House' of the old Confucian family system usually appears as a heavy burden for people with a new education , and posed delicate problems for people living in the transitional period . Both writers betray their ambivalent feelings between shirking the heavy burden of 'House' and the attempt to maintain it. Their female characters seem to make this contrast even more distinct.
I think a consciously Confucian or moral interpretation of this attitude should be avoided , since their way of thinking may be, despite the strong desire for liberation from 'House'，an unconscious expression of "mother-image" of safe repose.
In the end we can say that in le Tōson ignored all Western elements, just as in Samdae Yeoum Sangsoup rejected things Western. This is because they thought that the reason for the decay of the Eastern 'House' is Western culture. The two writers thus both believe that Western civilization exercised a harmful influence on 'House'. However modern an education their heroes may receive, they inevitably yearn to return to their traditional 'House'．
This can be regarded as the deepest message of Tōson, who insisted on the importance of tradition. Sankichi's will to flee from 'House' but his inability to do so pungently reflects Tōson's own inner conflict. Although Tōson persisted in demolishing the concept of 'House'，he maintained 'House' on a deeper, unconscious level.},
 pages = {67--82},
 publisher = {国文学研究資料館},
 title = {研究発表　島崎藤村の『家」と廉想涉（ヨムサンソプ）の『三代（サムデ）』　―“家”の束縛と崩壊を中心に―},
 year = {1985},
 yomi = {ロ, エンヒ}
}