感覚的な〈白〉のアイデンティティの演出 - 谷崎の作品を読む -

Abstract

Tanizaki finds white from a physical function-like female body by writing, and he's making peculiar sensuous “woman” = a chart as “white” be formed. But, it's being different in the white aspect depending on the times. Aesthetic is accomplished together with the color of “white” and< tattoo> in the “tattoo” in the Meiji period. Aesthetic is expressed by “white” after all, and the color of “white” is changing to a symbol of a devil-like woman elephant. The white world is asked from a physical function-like body of “Western woman” from the Taisyo period. “White” in the Taisyo period was a Western woman in a word for Tanizaki. But, summing “idiot's love” in in the Taisyo period “white” accomplishes male lust and unity from the second half. A work in Tanizaki's early stage is white as light, but then “Shunkinsho” is the physical function-like world of “white” which blocked light off. An Oriental white outcome is developed by respect to Western female white during a Showa period “Shunkinsho”. The world is “shadow beauty”. If beauty in the woman's surface where he found the color in the darkness through Sasuke and was made in “shadow” is “the best female beauty”, Tanizaki is expressing. Pursuit to Tanizaki's “white” in the Meiji Taisyo period was the world of “white” with the “Western countries”-like extreme color, but the world of “white” which is a Showa period after Kansai move described Tanizaki's Japanese regression, white of “shadow beauty” in other words the Japanese world of “white”. But, it's said that they was making the woman who has a white body as the woman image from three works and worshiped, a common point is seen.