@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002595,
 author = {中根, 隆行 and NAKANE, Takayuki},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {21},
 month = {Oct},
 note = {pdf, The years immediately following 1933 are customarily referred to as a period of "literary revival," in the first edition of the literary magazine Bungaku-kai, Kawabata Yasunari asserted that "now there are indeed signs of a revival in literature." Almost certainly, Kawabata was referring to "pure" literature (jun-bungaku) rather than the rival genre of "popular" literature (taishu-bungaku). However, the single reason for the wide popularization of taishu literature was the rapid development of mass communications in the wake of the Great Kanto Earthquake, which had precipitated on overwhelming rise in the number of publications aimed at the mass market.
Tanizaki, who had made a significant contribution to the "literary revival", blamed the rise of popular literature for the failure of his own works to attract attention. "Ever since this started," he complained, "I have been completely ignored by the critics" Although keen enough to ask themselves how best to guide the flood of popular literature, surprisingly few writers and critics of the period gave any thought to the significance of the phenomenon itself.
In this paper, I would like to consider "In Praise of Shadows" (In'ei Raisan), in which Tanizaki, previously an ardent admirer of the West, depicted the beauty of Japanese life. This work may be interpreted as a statement of dissent against what Tanizaki regarded as the excessively hygienic cultural structure which lay behind the boom in popular culture.
I propose to examine Tanizaki's work in the light of contemporary publications, which provide valuable clues to the cultural customs of the day.
At the outset of the revival, the literary divide lay between "pure" and "popular" fiction. But in "In Praise of Shadows" Tanizaki sets the boundary between literature and culture. Rather than crossing this divide, Tanizaki shows how it may be defined from a writer's point of view. The object of this paper to clarify, by means of a comparison with publications, the place of "In Praise of Shadows" within Tanizaki's representation of popular culture.},
 pages = {99--113},
 publisher = {国文学研究資料館},
 title = {特集「境界と日本文学―ジャンルの交流―』　谷崎潤一郎「陰影礼賛」における大衆文化の表象},
 year = {1998},
 yomi = {ナカメ, タカユキ}
}