아쿠타가와 류노스케와다니자키 준이치로의 스쿠비즘 양상ー『호색』과 『후미코의 발』을 중심으로ー

Abstract

The purpose of this study is to compare and analyze the works, the Kousyoku of Akutagawa and the Humikonoashi of Tanizaki focusing on the succubism in both novels. While Tanizaki, through his uniquely literary characteristics of Female-body worshipping, displayed a tendency toward on succubism in his various works, Akutagawa showed little inclination on it except his novel, Kousyoku. In this respect, the fact that Akutagawa sought after the subject of succubism and completed the Kousyoku has a distinct meaning from other works. The result of comparison and analysis on both works is as follows. At first, the main character in the Kousyoku, it was succubism which Heichu has been obsessed with the excrement of a chamberlain that is corresponding to ‘ideal substructure B’. This succubism in the Kousyoku was chosen to overcome the despair of Heichu, after he had found his helplessness and limitation in front of ideal figure of a chamberlain. However, the succubism, rather than relieved him, led him to self-destruction, and Heichu ended up kneeling in front of her without getting over this ideal of a chamberlain. In the novel of Humikonoashi, both Inkyo and Unokichi showed the aspect of succubism in love triangle between Inkyo and Unokichi surrounding Humiko. This was the succubism of ‘physical substructure’that they craved for being under her feet. In the analysis of the work, it was identified that Inkyo and Unokichi were projected characters of Tanizaki himself, and they are double images that are shown in the other novels of Tanizaki. It is said that the characteristics of early works of Tanizaki were condensed into Humikonoashi, and he reflected the modernized image of Tokyo in his characters. In addition, the succubism of Inkyo and Unokichi in Humikonoashi was an internal desire toward his modernization. The appearance of Inkyo who died under the feet of Humiko, also, was a projected image of modernized Japan.