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講演 露伴の時代 ―日本近代文学史における翻訳とその周辺をめぐって―
https://doi.org/10.24619/00002613
https://doi.org/10.24619/00002613452aabda-d263-4252-9f9b-0f06e765acf4
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
講演 露伴の時代 ―日本近代文学史における翻訳とその周辺をめぐって― (15.5 MB)
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| Item type | 会議発表論文 / Conference Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2016-10-07 | |||||
| タイトル | ||||||
| タイトル | 講演 露伴の時代 ―日本近代文学史における翻訳とその周辺をめぐって― | |||||
| タイトル | ||||||
| タイトル | THE AGE OF ROHAN\nTranslation and its Environment in the History of Modern Japanese Literature | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_5794 | |||||
| 資源タイプ | conference paper | |||||
| ID登録 | ||||||
| ID登録 | 10.24619/00002613 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
潟沼, 誠二
× 潟沼, 誠二× KATANUMA, Seiji |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Kôda Rohan is a “first-class third-rate writer.” He is undoubtedly first-class, as his name is celebrated in the history of Japanese literature, while he is at the same time third-class, for his works themselves no longer receive much consideration and have even been more or less forgotten. No other writer contemporary with Rohan has fewer readers than he. The incongruity between his status and his popularity has always been present. His literary style has been criticized as being too difficult, but as Georges Gusdorf says in La Parole, such an accusation is very likely simply “an excuse for those who would justify their own linguistic deficiencies”. Pursuing the reasons for this incongruity will provide us with a new viewpoint on modem Japanese literature. First, I would like to consider Rohan's understanding of the term “modernity”. An investigation into this point should clarify the unique way in which Rohan, a young behind-the-times writer, confronted Western culture. At times, his position is expressed through intense sarcasm toward the ideas of Western philosophers. Next, I would like to focus on the verbal drama hidden within certain discourses pertaining to Rohan. First, there is his comment that “the so-called Reality is not only in the facts” (from a letter by Rohan to Tsubouchi Shôyô). There is also the statement that “Koda writes his stories based on Buddhist philosophy” (from a diary of Tsubouchi, dated January 3, Meiji 23 [1890]). These comments show us that there were conflicts between divers approaches to the writing of stories. Moreover, I would like to look into the connection between oto (sound), monshô (auditory feature), and his work entitled Ongen-ron. I take this connection to be a special characteristic of Rohan's works. I would also like to investigate why Rohan abandoned the writing of stories--or, to put it differently, why his works were excluded from mainstream modern Japanese literature. By investigating such aspects of Rohan's art, I hope to come to an understanding of the essence of his literature. |
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| 書誌情報 |
国際日本文学研究集会会議録 en : PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE 号 23, p. 23-46, 発行日 2000-03-01 |
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| 出版者 | ||||||
| 出版者 | 国文学研究資料館 | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 0387-7280 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | ||||||
