@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002720,
 author = {湯, 薇薇 and TANG, Weiwei},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {29},
 month = {Mar},
 note = {pdf, From 1880 to 1889, Miyazaki Muryu (1855-1889) presented many political novels and Chinese poems in newspapers and magazines. Compared to the authors of the popular rights movement of the day, he is notable for having taken up women in many of his works. 
His literary career can be separated into three periods based on the changes in his venues. From 1880 to 1882 Muryu was in Kochi and wrote continuing stories such as “Shunshoku Hutagi no Hana”, “Noji no Ume ga Ka”, “Migiwa no Utena, Tuki no Omokage” and “Usugeshou Kagami no Hana” based on news reports and gossip in the popular rights movement papers Kochi Sinbun, Kochi Jiyu Sinbun, and Toyo Sinbun. As can be seen in the names of these works, most of them depict tragedies that befell women around the beginning of the Meiji era. Following his move to Tokyo in 1883, Muryu created series based on the French Revolution and Russia’s Nihilists in Jiyu Sinbun, E-iri Jiyu Sinbun, and Jiyutou such as “Jiyu no katidoki” and “Kishushu”, which drew great attention. The heroin of “Kishushu”, seen as the pinnacle of his political novel creations, is a nihilist named Sophia. Unlike many political novels of the time, she was not a “beauty”, but rather a “female patriot”, one who would plot assassinations. Leaving Tokyo, Muryu was active in Osaka and Kochi and in 1888 in Toun Sinbun ran “Susuki no Hitomura”, said to be the Japanese version of “Kishushu” The Heroin, Fumiko, was influenced by Sophia, and is depicted as a character who has grown out of being a traditional “beauty” into a “female patriot”, awakened to modern philosophy. The appearance of Fumiko appears to be one of the conclusions Muryu came to in depicting women.
This presentation will examine “Kishushu” and related earlier works plus their connection to “Susuki no Hitomura”, while looking at the tension and merger of “East” and “West”, “Tradition” and “Modernity”, using the evolution of the “beauty” to the “female patriot” as a guide.
In addition, to look at the intellectual background of this evolution, Muryu’s Chinese poetry and the women’s rights movement of the day will be discussed.},
 pages = {155--162},
 publisher = {国文学研究資料館},
 title = {研究発表　「佳人」から「女志士」へ　―宮崎夢柳の『鬼啾々』『芒の一と叢』を中心に―},
 year = {2006},
 yomi = {タン, ウェイウェイ}
}