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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
고토 유코(Yuko Goto) 고려대학교 글로벌일본연구원 2021 일본연구 Vol.35 No.-
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.
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