전후 일본문학 속의 천황 서사 : 1960년대 불경 문학과 그 경계
The Narrative of the Emperor in Postwar Japanese Literature : Blasphemous Literature and Its Boundaries in the 1960s
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초록
本稿では不敬罪の概念と戦後において不敬罪が廃止された過程と戦後の天皇制が大衆天皇制として成立した背景を簡単に検討し、いわゆる「不敬文学」という概念を通じて、言わば筆禍にあった作品を考察した。本稿では大衆天皇制のムードが高まった時期の1960年代の小説に注目した。大江健三郎の「セヴンティーン」と「政治少年死す」、深沢七郎の「風流夢譚」は、それぞれ異なる方法で天皇という象徴を解体する物語を展開した。しかし、これらの作品が不敬文学と呼ばれるのは、その内容の過激性よりも、それに対する政治・社会的反応の脅威性による面が大きい。 一方、小山いと子の「美智子さま」のように、皇室に対する尊敬と愛情を基盤にした友好的なアプローチさえも禁忌とされ得ることが分かった。この作品をめぐる掲載中止措置は、皇室は愛されるべき存在でありながら、私的に近づいてはいけない存在であるという天皇制の二重性を浮き彫りにしている。これらの作品は、日本社会における「不敬」が政治的意図によって恣意的に作用することをよく示している。
Abstract
This paper first briefly examines the concept of blasphemy and the process through which the crime of blasphemy was abolished after World War II, as well as the background in which the Emperor system transitioned into the "Mass Emperor System." Following this, the paper focuses on narratives that critique and subvert the authority of the Emperor through the concept of "blasphemous literature." In Ōe Kenzaburō's Seventeen and The Political Youth Dies, it is shown how fanatical loyalty to the Emperor leads to personal destruction, pointing out the Emperor's fictitious nature through the disintegration of the individual who idolizes him. Fukazawa Shichirō's The Tale of the Wandering Dream presents a narrative in which the Emperor is "killed" through a dream, offering a glimpse of radical imagination through literature. Both works dismantle the symbol of the Emperor in different ways. However, the reason these works are referred to as "blasphemous literature" is largely due to the political and social threat they posed rather than the radical nature of their content. Meanwhile, the paper also identifies narratives in which even a respectful and affectionate approach to the imperial family, such as in Koyama Itoko's Michiko-sama, is taboo. In this respect, Michiko-sama demonstrates that "blasphemy" operates even on the emotional distance from the Emperor and the imperial family. The Emperor system reveals its dual structure in which the imperial family is loved, but must not be privately approached. The case of Michiko-sama illustrates how "blasphemy" is arbitrarily manipulated in Japanese society due to political intentions.