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.

アマチュア・アウラ・アナーキー ─安井仲治(1903-1942)の「近代」─

고토 유코 중앙대학교 일본연구소 2016 日本 硏究 Vol.0 No.41

Amateurism, Aura, Anarchy The Significance of Modernity for Nakaji Yasui (1903-1942) 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.

横浜の金子文子――都市をよぎる視線と近代天皇制――

고토 유코 한림대학교 일본학연구소 2019 翰林日本學 Vol.0 No.35

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. 2019年5月、日本では天皇の代替わりがおこなわれ、「令和」の元号が使用を開始された。典拠とされる「国民歌集」観を帯びた『万葉集』には、天皇制と同様、日本近代の文化装置としてあらたに動員された経緯がある。本論は、近代天皇制の完成後、日本に誕生した金子文子(1903-1926)の「視」を通し、かかる求心的な磁場に抗した精神の可能性を描出する。金子は、大逆罪を付されたのち、伝統的な歌風とは隔たった自己流の詠歌を開始した。大逆罪を付された人物は、多数存在するにもかかわらず、日本人の多くは金子にとくべつな愛惜を抱く。だが、そこには当時から今日までつづく言説の再生産が看取されるのである。理由として、彼女自身の「手記」とされる『何が私をこうさせたか』の豊饒な世界が、読み手を魅了し、事実よりも「物語」を消費する現象が継続していることが考えられる。そこで、本論は、「手記」では重点を置かれなかった横浜における金子の幼少時に、初めて焦点をあてる。20世紀初頭、発展の途にあった港都ㆍ横浜で、多様かつ多量の「生」のリファレンスを得た経験は、彼女のその後の「視」のはたらきに投影されるだろう。同地で誕生後まもなく獲得された移動性は、「血」、「性」、そして「知」の境界をも超えていく。生成し外部の世界へとひろがっていく港都のごとく、彼女の理知は、求心的な磁場に取り込まれない。そうして、中心に固定されないまま場をよぎっていく「視」は、日本文化のうちにありながら、疑似宗教としての近代天皇制が象徴する虚構を徹見するのだ。

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

고토 유코 한림대학교 일본학연구소 2014 翰林日本學 Vol.0 No.24

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. 関東大震災から昨年で90年が経った。その地震が引き起こしたものは、しかし、天災にとどまるものではなく、人災としての官民が一体となった反動的精神の発露は、日本をカタストロフに導くこととなった。生年が一年違いのアナキスト・和田久太郎(1893-1928)と作家・芥川龍之介(1892-1927)は、このとき、つかのまの邂逅をはたす。震災発生後の混乱のなか、同志・大杉が彼のパートナーと8歳の甥とともに官憲に虐殺されてから一年後、和田は当時の総司令官・福田雅太郎を狙撃して失敗、収監されている間に『獄窓から』(俳句、短歌、エッセー、書簡を含む)を出版する。それに高い評価をあたえ、書評を書いたのが芥川龍之介であった。同時代人のふたりは、まさに視差としての〈大正〉を生きた人物だといえる。両者に見出される共通のキーワードは、ときに対立しつつも分かちがたくからみあ う。注視されるのは、震災発生直後、和田が思想の要監視人として検束されていたのに対し、芥川が和田のような社会主義者や朝鮮人から身を守るとして結成された「自警団」に参加していた事実である。この対蹠的な位置はなにを意味するのであろうか?本論は、問題の背景に文学と政治のむすびつきを措定する。そこで、両者の思想と行動を、関東大震災という近代史の分水嶺において分析したい。それが、大正という時代のあらたなパースペクティブを提出すると同時に、3.11後のわれわれを逆照射することを希望するものである。