Earticle

초록

영어

The purpose of this paper is to trace Abe Kobo’s turning point in style and ideas in For the Nameless Night (1948) and to explain the internal process of transforming himself into an avant-garde writer. For the Nameless Night has been generally known as an imitative work of Rainer Maria Rilke’s The Notebooks of Malte Laurids Brigge. However, soon after writing this novel, Abe separated himself from Rilke’s style and sought drastic changes to write “Dendrocacalia”, one of the most famous avant-garde short stories. Abe wrote For the Nameless Night not in the most influenced period, but in the time of change. so we can get a clue to what he was searching in it. To the narrator of For the Nameless Night, writing Dinggedicht (poem of things) just like Rilke was the most important objective. Dinggedicht needs both keen observation and oblivion, so the narrator compared the former to “day”, and the latter to “night.” But devoid of the eyes of Rilke, the narrator was lost for a long time without a single good poem written. One day, he suffered from short-term amnesia and changed his mind. He was led to believed that living in the present is more important than understanding the past. and that this is the true meaning of The Notebooks of Malte Laurids Brigge. He promised himself to be freed from the solitude that Rilke once recommended. This paper discovered a self-declaration feature of this novel and ranked this novel as a forerunner of Abe Kobo’s new writing style era.

목차

1. 序論
2. 作品の成立過程
3. 『名もなき夜のために』の意義
3.1 安部のリルケ理解
3.2 ｢夜｣と｢昼｣の意味分析
3.3 ｢夜｣の意味の変化
4. 結論
参考文献

키워드

저자

• 辛重官 [ 신중관 | 東京大学博士課程, 日本近現代文学 ]

참고문헌

발행기관

간행물

표지보기 관심저널 등록

• 간행물명

  일본언어문화 [Journal of japanese Language and Culture]

• 간기

  계간

• pISSN

  1598-9585

• 수록기간

  2002~2025

• 등재여부

  KCI 등재

• 십진분류

  KDC 730 DDC 495