久生十蘭とフランス文学・フランス文化 : 『十字街』を中心として

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概要

• 論文の詳細を見る

• When taking a generel survey of the history of modern Japanese literature, we often find some works which discuss the differences between European and Asian culture. Educated people are especially ardent about comparative studies of French and Japanese culture. A prominent literary critic, Miyoko Nakano, stated that though Riichi Yokomitsu's Ryoshu (Loneliness on a Journey) won a favorable reputation, it was a mediocre work. However, she appraised Hisao Juran's Jujigal (Cross Street) as far more outstanding. Juran Hisao, born in 1902 in Hakodate, Hokkaido, grew up in an affluent family. Juran loved freedom so much that he abandoned schoolwork at the age of 15. When he was 20, he became a journalist and started writing plays. In 1920, he went to Tokyo to study French playwriting theory under Takashi Kashida, whose work shows the ubiquitous influence of his own teacher, Jacques Copor. In December 1929, Juran arrived in Paris, after a long journey via the Trans-Siberian Railroad, where he spent three years under the tutelage of Charles Duran. (In fact, his penname, Juran, was taken from Duran). Specific information about his activities during this period is unknown. In 1933, 33-year-old Juran returned to Japan at last. In Jujigai, his masterpiece, Juran describes metropolitan Paris in detail and links two French and Japanese political scandal: the Stavisky Incident in French and the so-called High Treason Incident in Japan. The main character, Takayoshi, and the female protagonist, Yukiko, are taunted by the some fate. In the High Treason Incident, the Japanese government accuses both characters fathers, innocent civilians, of being criminals and tries to put them to death. Twenty years later, while Takayoshi and Yukiko are studying in Paris, they become victims of the Stavisky Incident. They are both killed by the authorities, although neither of them has anything to do with the incident. Throughout this fictional work, Juran describes the hopelessness of politics in French and Japan, recognized especially by people living in the countries capitals. Juran's unique, refined writing is reminiscent of the works of Restif de la Bretonne, Eugene Shue, and Francis Carco. In Jujigai, Juran successfully draws a clear picture of Paris as an abyss.

• 桃山学院大学の論文
• 2000-12-20

著者

• 赤瀬 雅子

  文学部 比較文学

関連論文

• 東西演劇にみる悪の美 : 河竹黙阿彌とモリエール
• 『ふらんす物語』試論 : リヨンのトラブールを背景とした物語の成立について
• 久生十蘭とフランス文学・フランス文化 : 『十字街』を中心として
• ふたつの『落葉日記』 : 岸田国士に根づいたジャック・コポー理論
• 荷風文学に見る都市構造の反映 : パリのパッサージュ・クヴェール
• 永井荷風におけるアンリ・ミュルジェールの影響 : ボエームへの憧憬
• 近代文学にあらわれた女性像 : フランス文学・文化の影響によるヒロインの誕生
• 大正のフランス文学 : 近代文学のベレポック
• 日本近代文学にみる船旅 : 魯文,荷風,前田河,岸田
• 成島柳北 : 儒学と江戸文芸とフランス学
• 中村真一郎とフランス文学 : 古典理解におけるサロン文学の影響
• 国際フランス語教授連合 : 第9回世界大会についての報告
• 芥川文学における都市 : 芥川龍之介の読書書誌研究から得たもの(共同研究 : 芥川龍之介の読書書誌)
• 原景としての故郷 : 永井荷風とアンリ・ド・レニエ

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