｢家庭｣を舞台とする三島文学 ― 戯曲と｢女中｣像を中心に ―

다국어 초록 (Multilingual Abstract)

This paper investigates the dominant female characters in Mishima Yukio’s works focusing on the “maid” image which is embossed in the play about him, reexamining the position of the play in the literature of Mishima and his life, and examining the social significance of the occupation of “maid.” Mishima has left a number of not only novels but also plays, and it leads us to say that plays play an important part in his literary world. Mishima did not just write plays but also directed them himself, and he was keenly concerned about how his own work was actually interpreted in these plays. It can be argued that most of them are family plays, which is a key feature of Mishima’s plays. Indeed, many of his works are set only at home, and in those works the appearance of “home” in the daily life of postwar Japanese society is depicted clearly. In this way Mishima’s focus on drawing the “home” would be noteworthy. This is because the time during which Mishima was developing creative activities was the time when the postwar modern family model was formed and settled. In postwar Japan's high economic growth period, the combination of “white-collar worker husband and homemaker wife” generalized. In other words, after the war, women did not enter society, but instead became housewives, confined to the home. Women, as these “housewives,” instead of going to erase the existence of “maid” from society, were taking charge of doing the housework and parenting in the home. It can be said that women who were exclusively responsible for the function of housekeeping in the home shifted from “maid” to housewife. These women's problems seen in the modern family system are revealed through the appearance of “maid” with the dominant force that Mishima draws.

목차 (Table of Contents)

• <要旨>
• 1．はじめに
• 2．三島文学と劇曲
• 3．三島と劇団
• 4．三島戯曲と女性
• 5．三島戯曲と｢女中｣
• 6．おわりに
• 関連ウェブサイト
• 参考文献(Reference)