@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002185,
 author = {栗田, 香子 and KURITA, Kyoko},
 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, Starting with Futabatei Shimei's Ukigumo (The Drifting Cloud, 1887 -89), which is often mentioned as the first "modern" novel in Japan, one finds in Japanese literature a considerable number of works whose main themes concern triangular relationships. Kōda Rohan, whom I consider one of the most important modern writers despite his reputation as an "anti-modernist," dealt with quite a few situations involving a single woman and several men, beginning with his debut work, Tsuyu dandan （Dewdrops, 1889). In Ichisetsuna （One Moment, 1889), Rohan for the first time considered a triangular relationship, based on the legend of Ikutagawa--a tale also adapted later by Natsume Sōseki and Mori Ōgai. This legend tells of a woman whose inability to choose between two equally qualified suitors leads to her suicide. Eight years later, Rohan gave a very different version of the same legend in Yumiya no ie (An Archer's House, 1897). The purpose of this paper is to introduce the problem of modernity in Rohan's works by comparing his two distinctly different adaptations of the legend of Ikutagawa.
In Ichisetsuna,Rohan makes the two Ainu rivals, Fuure and Retari, polar opposites in personality, and offers a Romantically dramatic ending which transforms the deathly symmetrical triangle of the original legend into a productive, asymmetrical triangle. Here the Dionysian Fuure's decisiveness in severing his present from his past is celebrated. In Yumiya　no ie, however, no happy solution is offered, and Oriyo, the woman who is to maintain the tradition of her father's school of archery, grows increasingly unhappy. Like Ibsen 's A Doll 's House (famous at the time in translation as Ningyo no ie), Yumiya　no ie presents a woman's awakening to a new reality: in Oriyo's brave new world, progress has lost its original purpose and history comes to a halt. For Rohan, the era which we consider the advent of Japanese modernity-- the 1890s--marked the closing of Japan's true window onto modernity: the 1870s and 1880s, a unique and fleeting period when ideals were realistically envisaged and freedom was tangible.},
 pages = {111--120},
 publisher = {国文学研究資料館},
 title = {研究発表　幸田露伴と近代　―『一刹那』から『弓矢の家』への三角関係の推移―},
 year = {1993},
 yomi = {クリタ, カヨコ}
}