@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002131,
 author = {林, 正子 and HAYASHI, Masako},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {12},
 month = {Mar},
 note = {pdf, Mori Ogai's "Maihime," his first significant literary publication (January 1890), is a short story of no more than 41 manuscript sheets. Yet the work has remained controversial ever since its appearance and has been the object of a wealth of interpretations, ranging from the thematic, empirical, stylistic and comparative to studies of structure or applications of symbolic logic. Indeed, the work is remarkable among those of the modern period for having generated so much commentary that the history of "Maihime"criticism is now a field of research in its own right. The text remains problematical, however, and the present study seeks to identify its structural uniqueness under the category of "polyphony."
The text of "Maihime"is generated by an uneasy synthesis of the author's self-awareness and his literary ambitions, his recognition of reality, and his self-deception in confronting the text of "Maihime." The pattern of the author's self-recognition is mediated by the selfreflection, and fictions, of Toyotaro. In effect, we can see that in this his first published work Ogai had already worked out a conception for reflecting on his life through the act of writing},
 pages = {39--51},
 publisher = {国文学研究資料館},
 title = {研究発表　「舞姫」のポリフォニー},
 year = {1989},
 yomi = {ハヤシ, マサコ}
}