Page 1 Osaka University Knowledg Osaka University Knowledge
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Page 1 Osaka University Knowledg Osaka University Knowledge
Title 待兼山論叢 文学編 第25号 SUMMARIES Author(s) Citation Issue Date 待兼山論叢. 文学篇. 25 P.61-P.65 1991 Text Version publisher URL http://hdl.handle.net/11094/47863 DOI Rights Osaka University 6 1 SUMMARIES A PersonalViewo f“ Maihime ” InContrastwithCrimeαndPunishment TakatoshiIzuHARA ← − By comparing t h ed e t a i l so f Mori Ogai ’ s“ Maihime ”with t h o s eo fD o s t o e v s k i i’ sC r i m eandP u n i s h m e n t ,i tcanbes a i dt h a t t h eformerowesmanys c e n e si ni tt ot h el a t t e r . Butt h en a t u r eo f“ Maihime ”i sc o n t r a r yt ot h a to fC r i m eand P u n i s h m e n t .Theheroo fC r i m eandP u n i s h m e n tcommitsmurder, b u t he r e c o g n i z e sh i s own s i na f t e rl o n g t i m es u妊e r i n g s . Then hes t a r t st or e g e n e r a t eh i m s e l f .Thisn o v e li sas t o r yo fs p i r i t u a l “ renewal . ” “ Maihime ”i sn a r r a t e di nt h eformo fana u t o b i o g r a p h y . The h e r oo f“ Maihime ”i sd e s c r i b e da sacowardbya n o t h e r“ I ”from b e g i n n i n gt oe n d . Hed r i v e sh i sl o v e rmad. What he d o e si sa mentalmurder,buthes h i r k e dt h er e s p o n s i b i l i t yf o ri t .Thenhe m i s s e st h echancet orenewh i m s e l f .I nc o n t r a s twithC r i m eand P u n i s h m e n t , “ 民1aihime”i sas t o r yo f“ d e l a y ”or“ r e g r e s s i o n . ” I ti sn e c e s s a r yf o rMori Ogai t ow r i t e such a work, f o rhe i n t e n d e dt or e p r e s e n tt h eg e n e r a l weakness o ft h eJ a p a n e s ei n t h ee a r l yM e i j ie r a , though he was a man o fas t r o n g mind h i m s e l f . PoemsofCherryBlossombyt h eKohko・Shi sha NorikoNIINA I nt h el a t t e rh a l fo ft h e Ye d op e r i o d , a new p o e t i c so ft h e Ming and t h e Manchu d y n a s t i e s was adopted by p o e t so ft h e Kohko-shishas c h o o li nY e d o .U n t i lt h a tt i m e ,p o e t sc o n s i d e r e d t h e m s e l v e s bound t o compose p o e t r yi nt h eo l d Chinese s t y l e andimmitatedt h ep o e t r yo ft h eg l o r i o u sT’ angd y n a s t y . Ont h eo t h e rh a n d ,p o e t swhob e l o n g e dt oKohko-shishawrote poems o fc h e r r y blossom w h i l et h e yr e a l i s t i c a l l yd e p i c t e dt h e i r a c t u a ll i f ei nt h e i rpoems. KashiwagiJ o t e iandOkuboS h i b u t s u composed somepoemso ft h i sk i n d , admiring t h ebeautyo ft h e b l o s s o m , which i s unique t oJ a p a n . Theywere a s s o c i a t e d with t h e Kokugakusha, a group o fs t u d e n t si n t e r e s t e di nJ a p a n e s e A n t i q u i t y ,whot o o kc h e r r yblossoma sasymbolo ft h e i rt h o u g h t . 62 , e s e n a p a eJ h d by t i e poems, Chinese poems d s e n a p a J o n i S e h . Butt e r u t a r e t i el s e n i h eC h ft eo c n e u l f n ti a e r wereunderag e new h tt a h y blossom shows t r r e h fc e poems o h ft eo c n e t s i x e t n e m i t n e sgenuines ’ t e o dimportance on ap e c a l swhich p c i t e o p h t a r y r t e o p l a n i g i r o n a e s o p m o c o t s t e o p e s e n a p a eJ s o h dt e l b a n e . e n eo s e n i h eC h ft no o i t a t i m namerei a h rt e ' u s o g garu/Kegasu’and ‘Yogoru/Yo 区e l Study on ‘ a c i r o t s i AH YukihiroHASHIMOTO )/ u r e r o g o y ( u r o g o y 'and‘ u s a g e k / ) u r e r a g e k ( u r a g e k Synonyms ' : s g n i n a e rm i e h r by t e h t ho c a d from e e h s i u g n i t s i ’are d yogosu l a c i s y h p r“ e t t a ”and the l s s e n i t r i mental d e former shows “ h t . s t x e t n o tc n e r e f f i nd ei l b a e g n a h c r e t n ti o en r .Sotheya ” s s e n i t r i d . a d a r a ak t e r a g e k * / a t e r o g o (I) Dorodey . o r o k o ak t e r a g e k / a t e r o g o y (2) Tsumide* l i t n tu n e r a p p ta o n mentioned abovewas n o i t c n i t s i ed h But t yogoru/ ' and ‘ u s a g e k / u r a g e k f‘ . The usage o s e g e Middle A h t l o nc si g n i t i r dChinesew l eo h s on t e t o n o・mono ( h nS ’i yogosu h t n e e t n e v e ys l r a hand e t n e e t f i ef h nt ni e t t i r ,w e s e n a p a lJ a i u q o l n between o i t c n i t s i rd e h t o n e was a r e h tt a h ) shows t s e i r u t n e c ’ yogoru/yogosu e‘ l i h lw a r e t i ‘kegaru/kegasu’l e synonyms: s e h t . l a i u q o l l o c c i t n a m e es h ot ngaveway t o i t c n i t s i cd i t s i l y t es h ,t l l ra e t f A e coex・ h tt a h st ni o i t c n i t s i fd s changeo i h ft to l u s e . The r e n o tcame n e s e r tp 'a u s o g o y / u r o g o y ' and ‘ u s a g e k / u r a g e k f‘ eo c n e t s i . e l b i s s o obep t αs fTheFourZo sPoetry- A Studyo ’ nBlake Madnessi MamiHIBINO s c i t i r sc i fh t most o u d a madman, b e l l a Blake has been c s i n betweenh o i t a l e er h e on t u g r oa et s n e s n o sn ti ti a h et e r g a every h switht l a e , however, d r e p a . This p s s e n d a y and m r t e o p tBlakehad a h tt c a ef h st ra a sf ra o ,f y r t e o sp ’ nBlake madnessi thecommentson a h nt i a t r e sc ti ,i s t s i x damadmane e l l a beenc e h gt n i r e d i s n o c e s worth r ti ,i s e d i s e .B y r t e o sp i nh madness i , y t i n a s n yofI r o t s i sH ’ t l u a c u o rF e t f a ,. e c n i fmadness, s problem o . s e i t i v i t c la a u t c e l l e t n fi so d l e i sf u o i r a nv di e s s u c s i sd madness i d e s u a eworldc v i t c u r t s e sad e b i r c s e ,Blaked s a o nTheFourZ I 6 3 byU r i z e n ,t h eembodimento fr e a s o n ;m o r e o v e r ,t h ep o e tg i v e s him a s p e c t so fm a d n e s s .T h i s paper a n a l y s e st h e madness o f U r i z e ni no r d e rt oshowhowt h ep o e tp e r c e i v e sr e a s o na sa n o t h e r form o fm a d n e s s . The s t u d ya p p l i e st h ep s y c h o l o g yo fR .D . L a i n g ,whichg r a s p st h eproblemo fmadnessi nt e r m so fr e l a t i o n between an i n d i v i d u a l and s o c i e t y . Thep s y c h o l o g ye n a b l e sus t or e c o g n i z et h ep a t h o l o g i c a land s o c i a la s p e c t so fmadnessi n U r i z e n :f e a ro fn o n e x i s t e n c e ,f e a ro fo t h e r s ,p o s s e s s i o no ftwo s e l v e s ,p e t r i f i c a t i o n ,d i v i s i o nw i t ht h er e a lw o r l d , and l a c ko f s u b j e c t i v i t y .U r i z e ni s very s i m i l a rt os c h i z o i di n d i v i d u a l si n t h i sr e s p e c t . The p a p e rc o n s i d e r s why B l a k es u b v e r t sr e a s o n andc l a r i f i e sB l a k e ’ sviewo fm a d n e s s . “ Dutchman ”UtterancesandTheirCharacteristics E i i c h iYAMASAKI Thisp a p e rd e a l sw i t hs o c a l l e d“ Dutchman ”utterances. C i〕 I fhei sap o l i c e m a n ,I ’ m aDutchman. ( i i )I fC h i c a g oi si nI n d i a n a ,I ’ mt h eQueeno fRumania. T y p i c a l l y ,u t t e r a n c e so ft h i st y p es h o w : I . I d i o m a t i cc o n s e q u e n t s . 2 . Thei n t e r l o c u t o r s ’claimsrepeatedastheirantecedents. 3 , F a l s i t yo ft h ea n t e c e d e n t sandt h ec o n s e q u e n t s . 4 . I n a b i l i t yt oc o ・o c c u rw i t hq u a s i c o n d i t i o n a l s . 5 . I n a b i l i t yt oc o・o c c u rw i t he v e nぴ c o n d i t i o n a l s . 6 . U n e x p r e s s i b i l i t yi ns u b j u n c t i v emood. Regarding3a se s s e n t i a l , wef o l l o wt h ea s s u m p t i o nt h a tt h i s t y p eo fu t t e r a n c eu t i l i z e s modus t o l l e n s (MT) t oe x p l o i tt h e p r o p o s i t i o n se x p r e s s e d byt h eu t t e r a n c e s . This a p p r o a c he a s i l y e x p l a i n s 4 and 5 ,i n c l u d i n gt h e i re x c e p t i o n s .M o r e o v e r ,t h e p o t e n t i a l i t yo fM Ti nc o n v e r s a t i o n sp r o v i d e st h ef o u n d a t i o nf o r2 . F o l l o w i n gt h i sl i n e , we a n a l y z e 6 by c o n s i d e r i n gt h e way u t t e r a n c e so ft h i st y p ea r eu s e di nc o n v e r s a t i o n . Throught h e f a c tt h a tp r o t o t y p i c a lexamplesandn o n p r o t o t y p i c a lo n e sa p p e a r t o behave d i f f e r e n t l yw i t hr e s p e c tt ot h i sc h a r a c t e r i s t i c , 出e c o n v e n t i o n a l i t yo ft h ei d i o m a t i ce x p r e s s i o n si sc l a r i f i e d , which h a st e n d e dt omake1a p p e a rt obemosts a l i e n t . 64 eUntersuchungvon l l e r u t k u r t DasVergessenHeros Eines sMeeresundderLiebeWellen“ e D , s, r e z r a p l l i r G Misako Dor ← − eHandlung i tnormalerweised b i e r sDramast e rd u g i f t p u a DieH e Entscheidungen voran r h r Tun und i h ,i n e t l a h r r Ve h hi c r u l < . n i e s Dramas bewuBt s e nd o i t a u t i s t k i l f n o rK e und muβsich d e i ed n i te h c i nn i d l e rH e td g a r t r e b l sHero-Dramai r e z r a p l l i r DochG n e t s r se e . Nachdem am Ende d e l l o eR d n e b i e r t n a r o Handlung v e g r o v r e rh a l zk t e s e eundG b e i nvonL o i t a u t i s t k i l f n o eK i Aktesd r e ,d n i r e t s e i r n Lauf: DieP e r h eHandlung i i , nimmtd t s ni e t e r t r u rWeihez e r h ii e eb d a r e hg c i ts b e i l r e ,v t s ni e t o b r e nv e b e i zul njungenMann. e n i ne ni i r e t s e i r P r u t k u r t rS e hd c i l g l i z e nb i d l e rH e eFunktiond i nwird e t h c a r t e B r e hd c i l t h c i s n i r BewuBtseinh h , daBi h c i ts g i e oz s Dramas, s e d s e rEntwicklungd u nkeinemZusammenhangz ni o i t a u t i s t k i l f n o K zwirdvon t e s e eundG b e i tzwischenL k i l f n o : DerK t h e t Dramass s e hObjektd c i l g i d e tl s ei i rWeisewahrgenommen; s e n i e nk ri h i e n e g i ee r h ei i ss l :A t k e j b u sS e d n l e d n a th h c i hn c o d e ,j s t k i l f n o K e b s n e ganze Umwelt, i r h hi c i e l g u ez i ts B i g r e ,v t k r e m e Liebe b .ImDrama t h o r sd e z t e s e sG e nd e t i e evons i ,d r h a f e eG i ed r e d n o s e ankampfen s s i n r e d n i eH i e gegen d i ,d n e d l e eH n i e hk c i ns e d n i f . n e d i e nl e n h ri e t n ru e d o r e e Funktion d i td h c i t Hero n a rh u t k u r t rS e hd c i l t h c i s n i H nElemente e d i e rb e neinemd tnuri r e i t s i x te s b l e es i .S r u g i f t p u a H rBeziehungzum e n i e nk hi c o d e tj h e t ,s e b e i rL e ,d s t k i l f n o sK e d eLiebe i Bd u l h c tzumS b i e r h c s e nb e r u g i f n e b e rN e . Eined z t e s e G ・ sUnver l naucha r e d n o ,s s e d n e d n i b r e gV i i e s k c l i l sg l t nur a h c i n n i e l l ha c i ts g i e ez b e i eL s e i .D s e d n e g i t l a w r e b s und U e h c i l d i e m , z n e t s i x rganzenE e r h ni hi c i ts g i e ,z g n u r e d n a r e v s n e s nHerosW e i . t k c l i r d e g s u va i t k ta h c i hn c o d e tj s b l e rs h wirdvoni sde t αn ’' dansLesCh “eloignement ’ tl rapprochement”e Le“ ” r u e t c e l e“ −l 自uvre” “ ’ rI u ts n a s s i g edynamismea αldoror- l M e r i a t a r r a en r-l u e t a r r a /len Naruhiko TERAMOTO s e tl n o ed s o r np 色mee , po r o r o d l a eM sd t n a h esC rL e t i a r Pourt , n o i t a r r a iden u l e tc ee r u t c e edel t c a ' tl n o themesfondamentauxs e :l e r v u e ec t t e l de c e i t n e s s e dynamisme e el r i a l c nous avons e 65 “ rapprochement ”e tl '“ e l o i g n e m e n t " , tantM e n t r el “ ’reuvre”et s o n“ l e c t e u r "( t e l sq u ' i l ss o n tr e p r e s e n t e sd a n sl et e x t e ) ,t a n t l J t e n t r el en a r r a t e u re tl en a r r a t a i r e .I Is ’ e s tc o n f i r m eq u e ,d ’ une p a r t ,l e“ rapprochement ”e s t mis e nr e u v r e comme e m b r a s s e m e n t ,d i妊u s i o ndup o i s o n ,v a m p i r i s m e ,e t ,d ’ a u t r ep a r t ,I “ ’eloigne・ ment ”commep r o j e c t i o ne to r d r ed es 官o i g n e r . Ces deux mouvementsi n t e r s u p p l e m e n t a i r e ss o n tc o u p l e sd’ unemani 色r ee t r o i t e a f i nd’ i n v i t e rl en a r r a t a i r e / l e c t e u r註 s et r a n s f o r m e ren《c eq u ' i l l i t . 》