@inproceedings{oai:kokubunken.repo.nii.ac.jp:00003976,
 author = {萩原, 孝雄 and HAGIWARA, Takao},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {10},
 month = {Mar},
 note = {pdf, Miyazawa Kenji (1896-1933), an exceptionally prolific poet and "children's" story writer, was little appreciated by his contemporaries, but after his death his literary fame grew rapidly. This neglect can be traced to a lack of understanding of Kenji's cosmology which gave rise to his unique sense of innocence. He expressed this sense of innocence through both his literature and his life. This paper attempts to clarify the nature of Kenji's idea of innocence as exemplified in his tales.
In this attempt I shall focus on the problem of "autophagy"(life devouring itself ) , one of the central issues in Kenji's literature. This issue will be examined in terms of several conceptual and physical dichotomies such as synchronicity vs. diachronicity, the unconscious vs. the conscious, and ecstasis (ecstasy) vs. mimesis. Through this analysis I will attempt to establish that Kenji's ideas of innocence are best. understood . in relation to his world view, a view which would explain the structure of the universe in terms of a special type of cyclicity and circularity. Indeed, the structure of Kenji's universe may be compared to that of the Möbius band in which "this" side is connected to the "other" side through a simple half twist.
Through the metaphor of the Möbius band and other charts I shall also show that the innocence in Kenji's tales indicates a strong predilection for what Roger Caillois calls mimicry and ilinx ( vertigo ) . This predilection forms a clearcut contrast to that of the novel, which is largely based on Caillois'agōn (competition) and alea (gambling)ーthe two major elements that constitute the state of experience.},
 pages = {75--86},
 publisher = {国文学研究資料館},
 title = {研究発表　賢治童話におけるイノセンス},
 year = {1987},
 yomi = {ハギワラ, タカオ}
}