It is well known that Akutagawa has read Ogai's historical novels ‘many times and repeatedly for fun’ before entering the literary world. I tried to solve the clue mainly about the Ogai literary works to see why Akutaga was interested in Ogai's novel. There was a literary departure from the two writers who shared the childhood sentiment with the Sumida River as the ‘home of the heart’. The scenes of the Sumida River depicted in Ogai's literature are shown throughout the literature, including the early works of Akutagawa. The literary sentiment projected on the Sumida River was more conscious of Akutagawa than Ogai. Akutagawa expresses intentionally as ‘Sumida River’ and ‘Okawa’, expressing ‘resistance to vague life’ and ‘death’. For Akutagawa, the Sumida River was not merely a sanction, but rather a literary element that reflected the artist's emotions. Thus, Akutagawa's literary sentiment was depicted darker than Ogai. The Sumida River of Ogai Literature was the place where the background and events of the characters were developed and called Akagawa's “Okawa”, expressing the artist's dark heart, and Akutagawa's literary sentiment was darker than Ogai. The Sumida River area was a place where Ogai and Akutagawa spent their childhood as a starting point for writers, not simply materials in literature. Akutagawa, who shared Ogai's literary sentiment, appeared in novels, plays, essays, and so on. The environmental element of childhood served as the emotion of the artist, which is a literary context that identifies the author's genealogy of Ogai and Akutagawa. It is not surprising that the artist's childhood environment influenced emotions and this appeared in literature, but it became an important keyword in understanding both writers' literature.
동북아시아문화학회 [The Association of North-east Asian Cultures]
설립연도
2000
분야
복합학>학제간연구
소개
동북아시아 문화의 다양성과 정체성을 연구 토론하고, 지역내 문화 교류의 다양한 모습을 연구하고 문화변동의 큰 틀을 집적함으로써 우리 민족 문화 및 상대 민족의 문화적 터전을 이해하여 문화공동체적 특성을 계발하고 상호 관련성의 강화를 유도하는 학술활동을 통해 동북아시아의 문화발전에 이바지함.