李箱「童骸」における橫光利一の受容 - 横光利一「頭ならびに腹」「皮膚」との比較を中心に -

Abstract

During the 1920s and 1930s, the acceptance of Riichi Yokomitsu in Korea, China and Taiwan has contributed to the development of modernism in East Asia. The acceptance of Yokomitsu by the Korean writer, Yi-sang, has been based on the similar scene-settings written in “Nalgae” by Yi-Sang and “Me Ni Mieta Shirami” by Yokomitsu, with the parody of “Kim Youjung” by Yi Sang on “Kikai” by Yokomitsu serving as the basis. In this study, “Atama Narabini Hara” and “Hifu” are compared to analyse the acceptance of Yokomitsu in “Donghae” by Yi Sang. The study discovered that Yi Sang has inherited the image of children “scheming the fate” designed in “Atama Narabini Hara” and the shallowness of cities in “Hifu” by Yokomitsu to analyse the main character’s love and hatred for rapid modernity. What’s more, the connections and relations between both writers’ literature and art perspective are analysed as well. There is a great similarity between “Shinkankakuron (Theory of the New Sensation)” and the Theory of Literature on a Materialistic Basis” by Yokomitsu and “The Cradle of Modern Art.” He used the term “antenna” to include the subjectivity and features of materialism proposed by Yokomitsu, and he also reappraised the love experiment of a modern girl named Yim in “Donghae” by Yi Sang. In the story, the author used the, irony and meta-dialog of the conversation to observe the subjectivity of “terrifying” Yim. It is also to be noted that the main male character in “Donghae” desires to be exactly a replica of Yim, through the “fear” of his own subjectivity. The story, “Donghae”, was formed into a dead mask of text, passing on as an epigram to the readers.