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研究発表 森鴎外訳ストリンドベリ ―『債鬼』から消えたエロス―
https://doi.org/10.24619/00002619
https://doi.org/10.24619/00002619eeee7ee9-17a4-4899-a0a1-def8c8ed9015
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
研究発表 森鴎外訳ストリンドベリ ―『債鬼』から消えたエロス― (6.6 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 | 研究発表 森鴎外訳ストリンドベリ ―『債鬼』から消えたエロス― | |||||
| タイトル | ||||||
| タイトル | MORI ÔGAI'S TRANSLATION OF STRINDBERG'S PLAY\nLost Eros in Saiki | |||||
| 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 | 10.24619/00002619 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
長島, 要一
× 長島, 要一× NAGASHIMA, Yôichi |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | In “Translated literature by Mori Ôgai: from ‘The Improvisator’ to ‘Pelican’,” (Shibundô: 1993), I have already discussed in detail Ôgai's translations of plays by August Strindberg (1849-1912). A principal focus of that work is to compare Ôgai's translations with the originals in order to highlight Ôgai's activities as (mis) translator. In the process, I take into consideration the historical role of Meiji-Taishô translators as the "transplanters" of Western culture. Ôgai himself was confident that his translations were fundamentally accurate representations of the original texts, even though he might have made occasional mistakes in minor parts. He expresses that sense of confidence through the voice of the main character in his short story Dengaku Dôfu. In the end, however, Ôgai's translations are merely his own "readings" of the texts; they are free from neither historical restrictions nor linguistic limitations, nor are they safe from Ôgai's own personal biases. In that 1993 study, I took the discussion one step further in an attempt to point out that the originality of Ôgai's translations derives from the very parts that are distorted by such manipulation. In the present study, undertaken one hundred fifty years after Strindberg's birth, I compare Ôgai's translation entitled Saiki (1909) with its original, Strindberg's “The Creditors” (1888). I direct attention to the way in which the idea of "eros" which permeates the text of the original, is concealed, suppressed, or even erased in Ôgai's translated version. Furthermore, by broadening the scope of analysis to include other Ôgai’s works contemporary with Saiki--such as Masui and Vita Sexualis--I would like to point out that Ôgai's translation does not represent an attempt to penetrate the depths of the original. Rather, it serves as a forum, first for the introduction of a new theme as it unfolds in the original work, and secondly for the attempts to come up with ways to express that theme in Japanese. Thus, in the scope of this paper, I take as the x-axis my earlier studies of Ôgai's translations, and I add a y-axis which focuses on his own creations. Through this means of analysis, I expect that it will become all the more clear that Ôgai's efforts in “translation” served to expand the limits (kyôkai) of modem Japanese expression. |
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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. 126-134, 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 | ||||||
