@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002207,
 author = {畑中, 千晶 and HATANAKA, Chiaki},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {18},
 month = {Oct},
 note = {pdf, This study compares Ihara Saikaku's Kôshoku Gonin Onna and its French translation, focusing on book three. There is a critical difference between the original and the translation in characterizing the heroine Osan. This is not a mere misreading. Due to the quality of French as one of the Western Languages which tends to describe the behavior of characters coherently, Osan's action in the translation are described in an overly determined and organized fashion unlike in the original.
There is little room for variety of interpretations in the image of Osan in the translation because the translator must attach a certain coherence to Osan when putting it into French. For example, it is up to the translator whether to paraphrase a certain word of Osan into direct narration or into indirect narration, while Japanese does not have such a distinction. This presentation deals with an instance where the translator seems to have deliberately used indirect narration, while it seems natural to use direct narration in the context of the original. Indirect narration comes closer to the objective description of a narrator than direct narration, and thus enforces the objectivity of Osan's discourse at the narrator's level. That the translator used this narration is probably because he felt it necessary to grasp the words and deeds of Osan as her coherent doing in the current of time. As a result, however, the translation is to create an image which the original would not describe: An Osan who plays it cool to carry out her plan smartly.
Such an interpretation in the French translation is rather easy to accept for us because we already get used to the time conception and the logical coherence of Western languages. However, such an interpretation as in this French translation is unlikely to arise in the way of reading which, according to the Saikaku's original text, abides by the narration. It is appropriate, in face of Saikaku's text, to read as if listening to the narrator. Analyzing the time flow in the text apart from the voice of narrator is a modern way of reading, and has a danger of spoiling the lively plots of the work. The comparison with the French translation clarifies how such a reading is close to the time sense of Western languages.},
 pages = {9--22},
 publisher = {国文学研究資料館},
 title = {研究発表　フランス語訳から見た井原西鶴　―『好色五人女』巻三おさんの人物造形について―},
 year = {1995},
 yomi = {ハタナカ, チアキ}
}