内野健児の『土墻に描く』にみる植民地主義 ―「子供・童・あどり」を例に―

Abstract

In this paper, I summarize the biography of Kenji Uchino and focus on "Drawing on the Mud Wall", published during his Daejeon era in South Korea. I consider the beauty of South Korea that he saw, focusing on three poems, "The Naked Child", "The Kite" and "The Kite of Poor Children". I clarify how this poet, forgotten by Japanese, is studied and evaluated in South Korea. The beauty of South Korea found in Kenji Uchino's work is a healthy beauty created from the vitality of South Korean children. In these three poems, which are based on the lively South Korean children drawn by Uchino, he uses Korean sounds written in hiragana word like "Adori" to create the effect of defamiliarization in the poems, and this can be considered a special case. Can his poetry be regarded as colonial? It cannot be said that Uchino does not have a colonialist unconscious sense of superiority. However, it would be too hasty to deny his colonialist ideology and to declare his postcolonial literature based on his use of "Adori", which is the Korean sound written in hiragana.