@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002182,
 author = {劉, 岸偉 and LIU, An-Wei},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {16},
 month = {Oct},
 note = {pdf, The year 1909 was particularly noteworthy for Ōgai. Breaking a long silence, he rejoined the literary world 'after Ōgai's death in battle'. Beginning with his creative fiction "Half a Day," Ōgai's rich creativity developed in one work after another. However, several years later in 1912 and thereafter something extraordinary clearly occurred in Ōgai's creative locus with the publication of his first historical novel, The Last (Will and) Testament of Okitsu Yagoemon. According to Ōgai's own reminiscences concerning his situation during that period,"After coming to seek the materials for that work in the past due to various considerations in my situation, I investigated the achievements of the Tokugawa era.
In those years following 1909 just what did Ōgai mean by "various considerations in my situation." In order to elucidate his creative goals in the historical novels, histories and biographies and to explain the background of their creation, the investigation of "various considerations in my situation" is a method often employed by literary historians, but if his turn to writing historical novels, histories and biographies was not the inevitable destination of Ōgai's literary effort and if one may say that "due to various considerations in my situation" was something imposed upon him which he was unable to escape, then surely that very thought and effort expended in this "situation"will tell us a great deal about Mori Ōgai the writer.
In April of 1921 "Tower of Silence,"a story which allows us a view of the "situation"in which Ōgai found himself, was translated into Chinese by Lu Xun. With this translation Lu Xun and his younger brother, Zhou Zuo-ren, first introduced Ōgai to Chinese readers. 
As a matter of fact when one compares the Zhou's readings of Ōgai, one notices that there is a slight shift in their points of view. Although this is related to their views of literature and the situations in which they found themselves, both are of deep interest because each touches on an aspect of the essence of Ōgai's literature. In this paper through the eyes of the Zhou brothers I would like to reexamine the figure of Ōgai at the end of the Meiji period and to pursue Ōgai's thought and effort as they center on that period and its literature.},
 pages = {58--68},
 publisher = {国文学研究資料館},
 title = {研究発表　『沈黙の塔』前後の森鷗外　―周氏兄弟の目を通して―},
 year = {1993},
 yomi = {リュウ, ガンイ}
}