Earticle

초록

영어

Yokomitsu Riichi stood at the forefront of Japanese Modernist literature, specifically the Shinkankakuha, with the launch of Bungei Jidai in 1924. The depiction of women forms the core of his his aesthetic and expressive world. In the early 1920s, the female characters in Yokomitsu’s narratives were portrayed as ambiguous and conceptual beings shaped under the influence of European literature, seen through the introspective gaze of male consciousness. These figures were interpreted as objects of both the male protagonist’s yearning and suspicion, and as a metaphor for Western culture, rooted in the Western economic system that Japan (represented by the male figure) felt compelled to adopt. However, as social pressures intensified during the 1930s due to the global Great Depression, Yokomitsu’s portrayal of women entered a new phase. He introduced female characters who actively sought self-determination while grappling with realistic challenges such as marriage, divorce, and the succession of family headship (kadoku keishō). Consequently, the perspective on women shifted from a unilateral male fantasy to a relational and dialogical existence. Furthermore, the imagery of women, which had previously functioned as the metaphor for Western civilization, was occasionally replaced by dangerous and violent male imagery. This transformation reveals Yokomitsu’s evolving perspective on gender, culture, and the dynamics of modern Japanese identity, all examined within the framework of his Modernist aesthetics.

목차

1. 序論
2. 日本のモダニズム、震災と街の風景
3. ｢悲しみの代価｣の辰子
4. ｢七階の運動｣の能子とショップガール
5. ｢時計｣の明子と日本の未来
6. 結び
【参考文献】

키워드

저자

• 辛西永 [ 신서영 | 한양대학교 일본학과 강사 ]

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