타니자키 중이치로(谷崎潤一郎)의『春琴抄』론 -서사의 역발상을 중심으로-

Abstract

The purpose of this study was to examine the position and the relation hiddendeeply in the novel through a description of the narrator. It was based on that thewriter used the inverse concept mainly, which was found to be flowing through asa stream in the novel. The novel was unfolded in the manner of annotating to a narration by the narratorhaving monogatari sex(roman) of the imaginary "Mozyashungkingjeon" as thegeneral narrative in addition to the unusual preference of sadism and masochism andsetting the narrator. It is the relation between Saske and Shungking controlled most noticeably by theinverse concept. Saske and Shungking, for that reason, are shown crossed in differentboth poles. To summarize the contrast felt from the in-depth content of the novel, the narratorcollapses the image of Shungking from an angelic saint to an ill-fated demoniacwoman gradually, whereas that of Saske is carved into a landmark of the superegowith his fierce and persistent move. The superficial narration of the novel after all is in the situation where Shungkingabuses Saske like a tool but, inversely, Shungking is abused undiscriminatingly tocreate the image of Saske according to the in-depth hidden narration. Moreover, it was also found that, besides the two axes of Shungking's sadismand Saske's masochism, that has been pointed out so far, sadism of the narratortowards Shungking travestying to the extent of doubting his identity by discreditingor mistreating him cleverly was inherent as another axis. Finally, it also was the inverse concept that the narration of the novel wasdemonstrated at a dead end. Saske's grotesque self-injury of poking his own eyeson the verge of the collapse of the relation between the two after the sudden burnof Shungking led to their unity, and made the paradox that the horrible blindnessbecame the nirvanic stage of opening one's eyes possible.