梁石日『血と骨』におけるアジア的身体と二重の植民地性

Masahide 한국일어일문학회 2018 日語日文學硏究 Vol.104 No.2

In Japanese literature world, the appraisal of literature has been divided into pure literature and popular literature. When it comes to the assessment of literature, such a simple categorization about the work could function as an enormous prejudice and might be an obstructive factor to evaluate the work. Yang Seok-il’s long novel, “Blood and Bones”, has not been discussed adequately, having been considered as popular literature. I posed a question on such contradiction and raised re-evaluation about the work. Also, in this thesis, with regard to the modelling of the main character, it is possible to figure out this work from analyzing “Asian's body” as well as “Attribute of double colony”. “Asian's body” means ‘the body that is not systemized’ and additionally it has intense individuality which can not be obviously defined as ‘the modern systemized body’ with uniformity. “Blood and Bones” with such modelling of the main character could be interpreted as the meaning of Anti-system related to modern society. In addition to these features, “Attribute of double colony” is based on the fact that the meaning of Jeju-island’s location expresses geographical, but also political position; this island is located in the area where it can be tortured by both Korea and Japan. As a result, Jun-pyeong, who is Korean-Japanese and has lived in Japan for a long period, chooses not Jeju-island but North Korea as the final destination. If he relies only on his body and does not accept the others, this means that he collapses by himself. Wandering to the various places during the war, however, he tried to avoid the fact that other Korean-Japanese cooperate with Japanese army. In conclusion, the matter of this situation also reveals that tortured people have a nonpolitical tendency, considering Jun-pyeong's aspect. 일본 문단에서 문학 작품의 평가는 「순문학」과 「대중문학」으로 구분 지어져 왔다. 이러한 작품에 대한 단순한 분류는 작품 평가에 있어서 커다란 선입견으로 작용을 하여 문학적 평가에 커다란 방해요소가 되었다고 말할 수 있을 것이다. 양석일의 장편소설『피와 뼈』에 대한 평가는 오랫동안 「대중문학」 작품으로 간주되어 왔었기에 지금까지 문학적인 작품 평가가 충분히 논의되지 않았다. 필자는 이러한 작품평가의 모순점에 의문을 제시하며 『피와 뼈』의 작품의 재평가를 시도하였다. 또한 본 논문에서는 주인공 김준평의 조형에 관해 「아시아적 신체」, 「이중의 식민지성」이라고 하는 점에 그 특징을 찾아냈다. 그의 「아시아적 신체」라는 것은 「시스템화 되지 않는 신체」이며, 인간을 획일화하는 근대의 「시스템화 된 신체」로 의미를 단정할 수 없는 강렬한 개성을 소유하고 있다. 그러한 인물 조형을 할 수 있었던 『피와 뼈』는 근대에 대한 안티테제로서의 의미도 있을 것이다. 또, 「이중의 식민지성」은 점은, 제주도라고 하는 지리적·정치적 위치에 기인하는 것으로, 본국인한국과 일본 제국으로부터 이중적으로 학대받았던 위치에 자리매김하고 있다는 것을 의미한다. 그 결과 재일조선인으로서 오랜 세월 일본에 생활한 준평이 마지막으로 선택한 귀향의 장소는 제주도가 아니고 북한이었다. 한편, 준평은 자신의 육체만을 의지하여 다른 사람을 수용하지 않으며 자기의 껍데기에 함몰되고 마는 존재인데, 전쟁 중에 다른 재일동포가 일본군에 협력해 가는 (하지 않을 수 없었던) 것에 대해, 각지를 방황하면서 그러한 사태를 회피하고 있었다. 따라서 이러한 준평의 모습에서 학대받은 사람의 비정치적인 정치성의 양상도 나타나고 있다.

北原白秋の歌謡に関する一考察 - 『白秋小唄集』の「城ヶ島の雨」を中心に -

Masahide 일본어문학회 2016 일본어문학 Vol.72 No.-

The present article is concerned with the ballads of Hakushu Kitahara (among other genres of his poetry works). Starting with the conception of Hakushu’s view of ballads, we analyze ‘Rain of Jogashima’ included in “the Collection of Hakushu Short Ballads,” revealing that Hakushu’s private mood of life is reflected into his works. It is also found that the modern ballad style of 5-5-5-7 morae is skillfully utilized for his works, which manifests the harmony of the traditional and the modern. From the 1910’s to the 1920’s through Word War I, as Imperial Japan grew, Hakushu accelerated his approach to the tradition. In particular, although some argue that Hakushu is a nationalist based on the collection of his ballad works, it should be clarified what the approach to the tradition incorporated into his works and how it was conducted. Further, it should not go unnoticed that Hakushu had utilised the rhythm style of the traditional ballads since his early works. Moreover, during this period, Hakushu produced poems related to his mood of life such as ‘Rain of Jogashima,’ which were shared with people at the time. These factors, we argue, were never directly connected with the political nationalism. Although it is uncontentious that Hakushu finally became a nationalist, the present article raises the possibility of obtaining a new interpretation of Hakushu’s poems by shedding light on his various experimental works written in his 10-20’s. 本稿では白秋の詩歌のうち歌謡について考察を加えた。まず白秋の歌謡観を確認し、その上で第1歌謡集『白秋小唄集』から「城ヶ島の雨」を取り上げて、分析を試みた。その結果、白秋の私的な生活感情が作品のうちに反映されていることが理解できた。また他の小唄にも見られる5・5・5・7の近世歌謡の韻律が巧みに取り込まれることによって、伝統と近代の調和が試みられていた。 1910年代から第一次世界大戦を挟み20年代にかけて、白秋は帝国日本の拡大とともに伝統への接近を早めていく。そこで、白秋の歌謡集からナショナリストとみなす見解があるが、伝統への接近は作品において何をどのように取入れたかが重要であろう。また、白秋が古典歌謡の韻律の摂取を初期の頃から続けていたことを見過ごすべきではない。さらに、この時期には「城ヶ島の雨」のような私的な生活感情に通じる歌謡を生み出し、民衆に共有されている。これらの要素は決して政治的なナショナリズムと直結するものではあるまい。 白秋は徐々にナショナリズムに絡め捕られてしまったのだが、10~20年代の多様な実験的な作品群にさらに光を当てていくことで、白秋詩歌の別の可能性が見えてくるのではないか。

『水墨集』に関する一考察

Masahide 일본어문학회 2010 일본어문학 Vol.48 No.-

本稿では、主に北原白秋の『水墨集』の詩風を特徴づける閑寂境という観点から論じてみた。まず、この詩に収められた詩論から、「境涯」「自然への随順」「実相観入」など、東洋的な態度が目立っていることがわかる。『水墨集』の代表作「落葉松」は実相観入の好個の実践作であり、その視線は「見る」というより「観る」という方がふさわしいもので、「からまつ」のうちに 「さびし」さを観て、同時に旅人の「さびし」さを重ねている。それは、當時白秋が一つの理想境としていた閑寂境の詩的形象であり、松尾芭蕉の俳諧の理念であるさびに通じる精神が息づいている。その点からも、伝統的なさびの精神の型を踏まえているといえよう。『水墨集』の中で白秋が重視していた『水墨集』の章では「老荘の無為の思想」と「東洋人」としての自覚、自然讚歌、そして、簡素の精神が盛られている。この章については、従来全く評価されてこなかったが、その東洋的風景への没入や芸術的境地の詩的移しかえの試みから、中期以降の東洋的思想への傾斜と日本回帰、詩に対する美意識の問題まで、さらに考察することによって、當時の詩壇の孕む対立にとどまらず、日本近代詩の孕む宿命にまで、深くメスを入れることができるのではないだろうか。

映画『血と骨』に関する一考察

Masahide 한국일어일문학회 2017 日語日文學硏究 Vol.101 No.2

This treatise is to examine the film “Blood and Bones” which was directed by Yang-il Choi. First, my reserch briefly describes Korean residents in Japan, both Republic of Korea and North Korea, reflected on Japanese movies and extends to life of Jun-Pyeong Kim whose character is different from those of the protagonists of the existing movies by other Korean-Japanese directors. Jun-Pyeong Kim is featured as a person suffering from many hardships in the Japanese society during the postwar period, having experienced not only Japanese occupation but also liberation of Korea after he left Jeju-island in Korea and moved towards Osaka in Japan in 1923. Furthermore, I analyzed <history of Korean Japanese> around the liberation period of Korea based on the contents depicted in “Blood and Bones”. Contemplating modern history of postwar period of Korea described in backdrop of this movie, I could broaden my horizon on the status of Korea residents in Japan in a new direction. In other words, this movie makes me have a peculiar angle on the aspect of them in that the character in the movie refreshes the image of Korean residents in Japan under the difficult situation of history instead of being formulated as <Victim>, <Inferior>, and <Foreigner> from the historical viewpoint of Japan. 본 논문은 최양일 감독의 영화 『피와 뼈』에 대해서 고찰한 것이다. 우선 일본 영화 속의 재일코리안상에 대해 간략하게 서술하였고, 그리고 기존의 재일교포 감독의 영화의 주인공과는 다른 캐릭터로 그려진 『피와 뼈』의 주인공 김준평의 삶의 특징에 대해서도 고찰해보았다 그는 1923년 제주도를 떠나 일본 오사카로 건너가 일제 강점기와 해방을 거쳐 전후 일본 사회에서 고단한 삶을 살아야 했던 인물이다. 그리고, 논자는 『피와 뼈』속에 그려진 한국의 해방 전후의 <재일코리안의 역사>를 작품의 내용에 의거하여 분석해보았다. 이러한 작품의 뒷면에 그려진 한국의 전후 근대사를 살펴봄으로써 기존에 그려진 재일코리안의 위상을 좀 더 새로운 각도로 바라볼 수 있게 되었다. 즉 역사적으로 일본에 <피해자> <열등자> <이방인>이라는 재일코리안상과는 다른 「역사의 다이너미즘」에 번농되지 않는 재일코리안상으로서 영화 속에서 새롭게 부각되고 있다는 것을 확인할 수 있었다.

日本における韓流

Masahide 한국일본근대학회 2017 일본근대학연구 Vol.0 No.55

This essay settled the result that I investigated for eight women in Kyoto from the teens to 50 generations in 2015 about the Korean wave in Japan. In late years verbal explanation called "the Korean wave was over" is frequent in Japan. However, as a result of investigation, the Korean fan of the old and middle age woman enjoyed Korean contents without changing. And I understood that a youth enjoyed the Korean wave actively.The study of Korean wave in conventional Japan had many things which analyzed the reception form of the old and middle age woman, but thought that it might be necessary for an investigation to analyze the reception form of the youth more. In addition, the Korean wave in Japan plays a role as the mirror to project Japanese society on. Through the mirror, the Japanese problems such as the loss of absence of the communication in a family and the society asked even about the investigation and the Confucianism-like consciousness are seen. The Study of Korean wave will not be meaningless after analyzing modern Japanese culture from such a point of view. 本稿は日本における韓流について、2015年に京都市内の10代から50代までの8人の女性を対象に調査した結果をまとめたものである。日本国内で「韓流は終った」などという否定的な言説が多く見られるなかで、中高年女性の韓流ファンも健在であることと、想像以上にアクチュアルに韓流を享受している若者を発見できた。これまでの日本における韓流研究は中高年女性の受容形態を分析するものが多かったが、若者の受容形態をさらに調査、分析する必要があるのではないかと思った。 また、韓流という鏡を介して映し出される日本の現状について考えることで、調査でも聞かれた家族や社会のなかでのコミュニケーションの不在や儒教的な意識の喪失なども見えてくる。このような観点から、現代日本文化を分析する上でも、韓流の研究は無意味ではないだろう。

北原白秋の戦中詩考 - 『新頌』を中心に -

Masahide 일본어문학회 2014 일본어문학 Vol.64 No.-

本稿はこれまであまり論じられることのなかった北原白秋の戦中詩につ いて、最後の詩集『新頌』の詩篇を中心に論じた。同詩集の作られた戦中に発せられた白秋の翼賛詩歌や言説は侵略に向った軍部政府に対して「国民のあるべき心情的規範」を示す役割を果たすことで戦争協力詩とされてきた。確かに同時代の白秋の「国民歌謡」や少国民詩などはその通りであるが、『新頌』の花鳥諷詠風の詩作や戦場や戦闘場面を描いた一部の詩篇などは、そのような政治的な意図とは異なる描写の特徴を示している。つまり、『新頌』の世界は当時の政治的な力学と自身の芸術的な力学が拮抗した世界であると言えよう。したがって、白秋の戦中の詩作のすべてを戦争協力詩として均質化して捉えることに対しては異議を唱えておきたい。

夏目漱石の『道草』に関する一考察

Masahide 한국일본근대학회 2011 일본근대학연구 Vol.0 No.31

This article considered the motif , a method, and an aspect of recognition of human beings about "Michikusa"(1915) of Soseki Natsume. A couple relation, a family relation, kinsmanship are drawn on "Michikusa" mainly. Through such an imminent material, it does not depend on the influence of money and power and can watch an idea of Soseki called the construction of human relations by the rule of the character. In addition, in the method, it was based on an idea for "humanity" and was going to let a reader share it by personal, machining special experience for general experience. Furthermore, with "Michikusa", discovering human in oneself and others and the meaning that it is revealed thing incomprehensibleness is accomplished. A common aspect as the human being of oneself and others emerges from the feelings of the sympathy to be deeply worried to another person called "the pity" with it. Soseki was gradually freed from the sense of values that did discrimination in education and social position, the nature in a base through "Michikusa" by a chief character opening a self to another person and may have been going to picture the process when I woke in equality consciousness as the same human being and respect of various personality.

宮崎駿『魔女の宅急便』を使った授業の事例研究

Masahide 한국일본언어문화학회 2018 일본언어문화 Vol.44 No.-

This thesis indicates how his work has been handled in Korean universities. Also, not only will this research help courses to be developed, but also it will be the clue of the research for my animation. The information given by students from 2015 to 2018 is arranged in this dissertation. From these data, this research paper shows rites of passage, the story of coming up to the capital, and the story of talents which are the important factors in his work. What I was impressed is that one student in class conducted in 2015 pointed out that “Kiki’s delivery service” and ‘Tangled“ have a same characteristic, the formula of girl’s growth. Similarly, presentation from class in 2018 shows the genealogy of ‘magic girls’, so people notice this work due to the direction of evaluating the main character of witch historically. After student’s presentation and group discussion, the author, who is the professor in charge, prepared to argue the basic factor for his work such as its background as well as argument, and to complement the contents that students suggest. However, there is a problem that the research about his work is not fully achieved; thus, this dissertation was highly based on the words of Hayao Miyazaki. From now on, it is necessary to discuss, not interpretations based on such an author’s remarks, but even the parts that appear in the author’s unconscious areas in the face of the work.

北原白秋『思ひ出』における<異界>幻想

Masahide 한국일어일문학회 2009 日語日文學硏究 Vol.68 No.2

『思ひ出』の世界は、詩的話者の<思ひ出>という情緒に向かって、多種多様な角度から投げかけられた多彩な表現で埋め尽くされている。その形象化された世界は表現のレベルにおいて、いわゆる当時隆盛していた自然主義リアリズムの作風とは質の異なる不可思議世界の造形と言ってよく、白秋初期の特徴とされる情緒象徴詩、あるいは色彩を大胆に使った印象派的な感覚詩の作風を表している。 本稿では『思ひ出』において、廃れゆく故郷と、没落した家を重ねつつ愛惜の情を寄せながら、白秋の内なる「郷里柳河」の情景を反近代的な死の風景として形象化した異界として捉え直した。それを、具体的には「わが生ひたち」の情景、「生胆取」「骨牌の女王」「願人坊」といった架空の存在、さらには、「青き甕」の幻想形象などの内に見た。 すなわち、『思ひ出』は従来論じられてきたように異国情緒の産物であるということは当然として、その枠に収まりきらない異界的な要素を差し挟んでいるわけだ。後に、白秋は「童心」という詩における指標を訴えるにいたるが、この概念などは、異界を怖れおののきながら感知する感受性にも通じているであろう。 異界は日常生活に奥行を与えるという指摘があるが、それは「私たちの世界」、日常生活の陰の部分、裏側の部分を構成している。じつは人々の日常生活は・世界は異界がなければ成立しないのであるが、近代化へと向かう明治末期において、このような異界を描いた詩的世界が多くの人々の心も捉えたことからも、近代化という光に対して、反近代的な陰の部分がどうしても必要であったのであり、そのようなベクトルに白秋は自らの美意識を注いだのであった。

田村俊子『木乃伊の口紅』に関する一考察

Masahide 한국일본근대학회 2012 일본근대학연구 Vol.0 No.35

At first this article identified that it was the times when individualism stood side by side as the trend of thought as the principle of good wife and a wise mother about the times of "the lipstick of the mummy" of Toshiko Tamura. With that in mind, I grasped the aspect that woke to the way to rule over own in own from the way ruled over to a husband in conflict with husband, Yoshio by "writing" it because I read a work again, and a heroine grew. It right grew, but I knew that I lived in own which was true and was the trace which was going to step forward on the way to the true independence as the human being beyond the frame called "the woman" in the times when the principle of good wife and a wise mother was deep-rooted as a model of "the women". In addition, I considered the possibility that this work was a rare novel written with "doing damage to awareness" for women. Furthermore, the last scene shows reverse of the percent allotment to use the nature that reflected the then patriarchy and principle of good wife and a wise mother and suggests replaceable things such as sex role allotment when the man lives without a woman if the man and woman relations that I defied in such times die. 本稿は、まず田村俊子の『木乃伊の口紅』の時代について、良妻賢母主義と個人主義が思潮として並立する時代であったことを確認した上で、作品を読みなおし、女主人公みのるから、夫ㆍ義男との相克の中で「書くこと」によって、夫に支配されたあり方から自身で自身を支配するあり方へと目覚めていく様相を把握した。それはまさにみのるが本然の自身を生きることに通じており、良妻賢母主義が「女性」の規範として根強い時代において、「女性」という枠を超えた人間としての真の自立への道に進み出ようとした軌跡であった。また、この作品が「加害意識」を持って書かれた珍しい女性小説である可能性を探った。さらに、最後の場面は当時の家父長制と良妻賢母主義を反映した性役割分担の逆を示しており、このような時代を逆らった男女関係は、死んでしまえば男も女もなく、生きているときも性役割分担など入れ換え可能であることを暗示している。