内化する自然 : 明治三十、四十年代日本文学における自然意識

概要

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In contrast to the insistence on the spiritual in Japanese romantic literature of Meiji 20's (Tokoku Kitamura, Doppo Kunikida, etc.), romanticism in the Meiji 30's, led by the Myojo group, insisted on the sensual, as depicted by the title of Akiko Yosano's first tanka anthology, Tangled Hair. Whereas Tokoku and Doppo used mountains, rivers, trees, and other elements of external nature to symbolize their ideals, Akiko and the Myojo group's depiction of nature appears as an internal part or function of the human body. This tendency becomes much more apparent in the Meiji 40's, especially in the works of young writers influenced by western Decadence literature. Representative of this trend are Hakushu Kitahara's, Heretics and Junichiro Tanizaki's Tattoo, where an artificial and perverted nature is depicted in a closed indoor world. In Soseki Natsume's Sanshiro and Sorekara, we find that the stories take place in urban settings and contain few references to nature in itself. The references to nature that we do find, however, appear as motifs in paintings, as physical symptoms of the characters, or as abstract ideas. Further, upon examination of the naturalism movement, writers of this group rarely depict nature as found outdoors. Therefore, as urbanization rapidly took place in Meiji 30's and 40's Japan, nature in Japanese literature came to be represented as part of culture or as part of the human body.
東京女子大学の論文
1994-03-16