関東大震災とアナキストと作家 : 和田久太郎と芥川龍之介の場合

後藤優子 한림대학교 일본학연구소 2014 翰林日本學 Vol.0 No.24

2013년인 작년은 관동대진으로부터 90년을 헤아리는 해였다. 흔히 지진은 자연재해에 해당한다고 생각하나, 관동대지진은 자연재해였을 뿐 아니라,인재로서, 관민이 하나가 된 반동적 정신의 발로는 일본을 파멸(catastrophe)로 이끄는 결과를 초래하였다. 한 해 차이로 태어난 아나키스트 와타 큐타로 (1893~1928)와 작가 아쿠타가와 류노스케(1892~1927)은 이때 순간의 해후를 하게 된다. 대지진 후의 혼란 속에서 동지 오스키 사카에가 자신의 파트너와 8살의 조카와 함께 관헌에 의해 학살된 이듬해 와다는 당시 총사령관이었던 후쿠타 마사타로우를 저격을 감행하다 실패하여 수감되었다. 수감 중 와다는 <옥중 창문에서> (하이쿠, 단가, 에세이, 서간을 포함하는 작품)을 출판한다. 이에 높은 평가를 하며 서평을 쓴 것이 아쿠타가와 류노스케였다. 동시대인인 두 사람은 실로 <다이쇼> 시대를 살아낸 인물이다. 이 두 인물에게 보여지는 공통의 키워드는 때로는 대립하면서 깊이 연관되어 있다고 보기는 어렵다. 그러나. 주의 깊게 살펴야 할 점은 관동대지진 직후 와다가 사상의 감시를 필요로 하는 인물로서 검거 구속되었던 것에 비해 아쿠타가와가 와다와 같은 사회주의자와 조선인으로부터 몸을 지키고자 했던 <자경단>에 참가하였던 사실이다. 이 대조적인 위치가 의미하는 것은 무엇일까?본고에서는 문제의 배경에 문학과 정치라는 연관성을 추정한다. 양자의 사상과 행동을 관동대진진이라는 근대사의 한 분수령에 서서 분석하고자 하였다. 이를 통해, 다이쇼라는 시대를 바라보는 새로운 시각을 제시함으로써3.11 대지진 이후 일본을 역으로 비추어 볼 수 있기를 희망한다. It marked the 90th anniversary of the Great Kanto Earthquake in Japan last year. The earthquake was not only a natural disaster but also a man-made disaster because of the reactionary attitudes of both the authorities and citizens that manifested in its aftermath. This led to a catastrophic period in Japanese history. A transient connection occurred at this time between the anarchist Kyutaro Wada (1893–1928) and the writer Ryunosuke Akutagawa (1892–1927). Sakae Osugi, a comrade of Wada's, was brutally killed along with his partner and 8-year-old nephew in the confusion that followed the earthquake. A year later, Wada attempted to assassinate supreme commander Masataro Fukuda, but failed. While in prison, Wada then wrote the book Gokuso kara, which includes haiku, tanka, essays and letters. Akutagawa read the book and gave it a positive review. Wada and Akutagawa were contemporaries who both lived in the Taisho period, which serves as a parallax view. Common keywords occurring in texts by both Wada and Akutagawa are sometimes in opposition to each other but remain inseparably connected. It is worth noting that whereas Wada was held by the police as a person posing a security risk, Akutagawa, in contrast, joined a vigilante group that was organized to protect against socialists, such as Wada, and Koreans in the immediate aftermath of the earthquake. What does this antipodal stance mean?Based on the assumption that literature is connected to the political background of the time, I will analyze the thoughts and actions of Wada and Akutagawa at the dividing line of modern history when the Great Kanto Earthquake occurred. I hope to provide a new perspective on the Taisho Period that also has relevance for the present day in the aftermath of the 2011 Tohoku earthquake and tsunami.

横浜の金子文子――都市をよぎる視線と近代天皇制――

後藤優子 한림대학교 일본학연구소 2019 翰林日本學 Vol.0 No.35

2019년 5월 일본은 천황 교체 행사가 행해지고, ‘레이와(令和)’라는 새로운 연호의 사용이 시작되었다. 새로운 연호의 전거로 알려진 『만엽집』은 ‘국민가집(歌集)’으로서의 왕좌를 차지하고 있으며, 천황제와 마찬가지로 근대 일본의 문화장치로서 새롭게 동원되었던 경위가 존재한다. 본 논문에서는 근대천황제 완성 이후, 일본에서 태어난 가나코 후미코(1903-0926)라는 스펙스럼을 통해, 이러한 구심적인 자장과 길항한 인간 정신의 가능성을 그려내었다. 가나코는 대역죄로 몰린 이후 전통적인 가풍과는 거리를 둔 채 자기만의 시풍으로 시가를 창작하였다. 대역죄로 몰린 시인은 비단 가나코 뿐 아니라 많이 있지만, 많은 일본인은 가나코에 대한 특별한 애착을 지니고 있다. 그리고 그 근저에 당시에서부터 오늘에 이르기까지 이어지는 언설의 재생산을 엿볼 수 있다. 이유로서, 그녀 자신의 수가라고 여겨지는 『무엇이 나를 이렇게 만들었는가』 에 보여지는 풍부한 세계는, 읽는 사람을 매료시키고, 사실보다도 ‘이야기’를 소비하는 현상이 계속되고 있다는 것을 보여준다. 이에, 본고에서는 ‘수기’의 경우 중점을 두지 않은 요코하마에서 보낸 가나코의 유소년기에 초첨을 맞춘다. 20세기초엽, 발전과정에 있던 항구도시 요코하마에서 다종다양한 ‘생’의 참고자료를 획득한 경험은 이후 가나코의 ‘시선(視)’에 투영되었을 것이다. 출생 후 얼마 되지 않아 획득한 이동성은 ‘피’와 ‘성’ 그리고 ‘지(知)’라는 경계를 넘는다. 생성되어 외부 세계로 점점 넓혀가는 항구와 같이 그녀의 이지(理智)는 구심적인 자장에 구애받지 않았다. 그리하여 중심에 고정되지 않은 채 공간을 가로지르는 ‘시(視)’는, 일본문화 속에 존재하면서도, 유사종교로서의 근대천황제가 상징하는 허구를 통찰하는 것이다. With the enthronement of the new emperor, the Japanese era transited from Heisei to Reiwa in May 2019. The word Reiwa is derived from Manyo-shu (the oldest anthology of tanka), and it is based on modern Japan’s viewpoint of national literature. However, this viewpoint was invented to create a nation-state such as the modern emperor system of Japan, which was newly created in modern times. This paper thus elucidates the vision of Fumiko Kaneko (1903-1926), whose life displayed a centrifugal movement against the centripetal magnetic field. After being sentenced to death and while in prison, she began writing tanka that were different and unique from traditional Japanese works. Many Japanese are very fond of talking about Kaneko; however, there also exist other prisoners who have committed higher forms of treason. The existing narrative represents a reproduction similar to the discourse about Kaneko’s life. ‘Nani ga watashi o kosasetaka’, Kaneko’s autobiography, is thought to possess the key to deciphering this discourse. Hence, this paper focusses on her childhood in Yokohama that is overlooked by her autobiography’s influence. Her experiences in the modern port city on its path to development must have accorded her with references to a multifarious vision of herself at the beginning of the twentieth century. The mobility she encountered as a child enabled her to transgress the borders of blood, gender and intellect. Therefore, her perception is never attracted by the centripetal magnetic field in her life; much like the very movement of modernity, it extends outward across the modern port city. Ultimately, this sweeping vision allows her to see through the fiction of the emperor system as a pseudo-religion within the Japanese culture.

あたらしい人間のほうへ - 1924年の難波大助 -

後藤優子 동국대학교 일본학연구소 2016 일본학 Vol.43 No.-

Life exists not in an inevitable order but in a contingency. As far as a language is a metaphor, we never grasp a truth; therefore, we have to redescribe our lives continually to keep ourselves alive. Daisuke Namba (18991924) is known as the criminal who, during The Toranomon Incident of 27 December 1923, was an assassination attempt on Prince Regent Hirohito. He carried out his acts alone, without the support of any organization or comrades. Although there have been many assassination plots in modern Japanese history, this incident differed from other cases. Namba willingly chose a life that would lead to his untimely death. He lived during a time of transition, from the middle of the Meiji period almost to the end of the Taisho period. He was raised in Yamaguchi Prefecture, which produced many of the talents who went on to government during the Meiji Restoration. His grandfather was a loyalist Samurai, and Namba inherited the Samurai mentality. However, during his youth, new foreign ideas were spreading into Japan. Contemporaneously, the revolution taking place in Russia was influencing intellectuals in Japan. At that time, many young men were flocking into the chaos of the imperial capital in search of new lives. Meanwhile, Namba spent time observing and interacting with various people who were socially alienated. During the Taisho period, people praised human respect but gravitated, as if by centripetal force, toward catastrophe. In his last words to his father, Namba insisted that people should live not for their ancestors but for their offspring. In this paper, I attempt to redescribe rather than describe these events, which are a part of history, but remain controversial and relevant today. われわれの生は、人間を超越した必然的秩序のなかにではなく、歴史の偶然性のな かに存在する。言語がメタファーであるかぎりにおいて、われわれはたったひとつの真理 を把握することなどありえず、世界のなかでたえず再記述をくりかえしながら自己を生かし ていくこととなる。 本論で取りあげる難波大助(18991924)は、「虎の門事件」の犯人として知られてい る。彼は、いかなる組織にも属さず仲間も持たずに、「個人」で行動に出た。近代の日本 には要人暗殺が頻発することとなるが、政党や結社等の「集団」にまったく依らない例は、 他に類をみない。行動の結果として死が予想された「生」を、難波は意志的にえらびとっ た。本論執筆の動機となったのはかかる〈自律〉への関心である。 彼は、近世から地続きの明治なかばに生をうけ、昭和へとむかう大正時代に思春期か ら青年期を送った。出身地の山口県(元長州藩)は、明治維新に際して傑出した人物を中 央政府へ送った場所である。祖父は勤王の志士として活躍した人物であったため、難波 は生家にも色濃く残る武士的精神を引き継いだが、青年期を迎える大正には、日本にも あたらしい思想が押し寄せてくる。とりわけ同時代的に革命を達成したロシアは、日本の 知識人に多大な影響をあたえていた。当時多くの青年たちが、己のあたらしい生を模索 して、帝都の混沌のなかに飛びこんでいったが、難波は社会から疎外されたひとびとたち とともに時間を過ごし、観察者の目をやしなうことで、結果的にひとり異なった地点に到達 した。 視差としての大正は、人間存在の尊厳を高らかに謳いながらも、やがて求心的な力に 回収されカタストロフへとむかう。難波が遺書で〈父〉に語ったのは、人間は祖先のため でなく「子孫」のために生きるべきだという主張であった。本論は、過ぎ去った歴史の単な る記述ではなく、眼前のアクチュアルな問題へとつらなる「再記述」を期したこころみであ る。

アマチュア · アウラ · アナーキー

後藤優子(Yuko Goto) 중앙대학교 일본연구소 2016 日本 硏究 Vol.0 No.41

Nakaji Yasui is a representative figure of modernity in photographic circles in Japan. He was born at the beginning of the twentieth century and died in the second year of the Pacific War. His works always provide a perspective of society, while also making a connection with the intellect towards civilization. He never abandoned this perspective, which is exceptional for amateurism when the world aspect was rapidly changing. Clearly, it was elaborated in various ways as to how observation leads to truthful inferences of an external world. Here Yasui will be described in terms of intellectual history, rather than the art history of these times. His action and work will be analysed in relation to what Yasui names as "an invisible big thread". I will define the significance of modernity for Yasui through an exploration of his "amateurism". the aura of his works which based on other"s dignity, and the autonomy of his photographic expression which manifests a spirit of anarchy. It marks the seventieth anniversary of the end of the Second World War, and I will provide a new perspective on the times that offers the possibility of an intellectual course through the current crisis in Japan.

自動筆記·カメラオブスキュラ·ニヒリズムささきふさ(1897-1949)にみるモダニティの「視」の強度

後藤優子 ( Koto Yuko ) 고려대학교 글로벌일본연구원 2021 일본연구 Vol.35 No.0

2020年初頭から、世界はパンデミックの脅威に晒され、われわれの日常生活は一変することとなった。それは、苦難に満ちたものでありながら、現実のあらゆる事象が、複雑な関係性の網目から成り立つことを告げている。本稿は、ささきふさ(1897-1949)というひとりの人間の「視」に焦点を当て、日本近代の「知」の歴史の再記述を試みるものである。国民国家の成立に伴う多方面での「歴史」の創出は、日本文学史にも、「正典」や大家と傍流を画定させ、ささきはそこにおいて低評価を受けた。その偏向は、しかし言説として再生産され、当時から今日まで同様な事態は続いている。本稿は、ささきの作品から、シュルレアリスムに代表されるようなレアリスムと切断されたモダニティの「視」を抽出する。当該の「視」は、ささき自身に意識された「無意識」の問題と密接に関わっており、自動筆記やカメラオブスキュラ現象として、作品内に痕跡をとどめている。アフターダイバーシティの状況にある今日、人文学にも、言説の再生産からの脱却とより科学的な視点が求められよう。 Since the beginning of 2020, the world has been encountering the threat of a pandemic that has changed our daily lives completely. However, when life is filled with difficulties, it tells us that all phenomea are never self-evident and that they consist of a network of actors. This paper reviews modern Japanese intellectual history through the vision of Fusa Sasaki (1897-1949). The nation-state, when it was established in modern times, called for the invention of tradition. At the time, the history of Japanese literature also defined the canon and had great authority with others. Sasaki remains underrated, and biased discourse about her acts on how to lead her life has been bandied until date. This paper examines her vision of modernity, represented by surrealism that was disconnected from realism. It is closely related to the ‘unconscious’that was made conscious by Sasaki and was demonstrated in traces of automatic writing and the camera obscura perspective in her work. Awareness of the status of diversity has required the humanities to stop merely rehashing traditional statements, prevailing on them to research for a more scientific perspective.