동일본대진재와 다와라 마치(俵万智)의 3.11 가집(歌集) - 진재영(震災詠)에서 자연영(自然詠)으로 -

Abstract

This study analyzed “Machi Tawara 3.11 Tanka Collection: Since Then”, compiled by a tanka poet Machi Tawara , getting out of a framework of the 3.11 earthquake disaster that had been gone through only with tanka about earthquake disaster by unknown victims. Machi Tawara took refuge after 3.11 earthquake disaster in Sendai where she originally had lived and moved to Okinawa. Therefore, as she is also a victim of the disaster, her tanka can be also accepted as ‘the victims’ tanka’. However, she did not recite only tanka about earthquake disaster; she looked for a new direction for her tanka theme after 3.11 disaster. Therefore, this study investigated the effects of 3.11 disaster which was hidden from tanka about earthquake disaster by unknown many people on a person. Specifically, it focused on presenting changes in tanka themes before and after Machi Tawara 3.11 disaster as the specific grounds to analyze. Marchi Tawara’s tanka collection “Since Then” has a big theme ‘3.11’, but horrible earthquake sights that make people close their eyes or provocative words can not be found. She describes calmingly and smoothly her refuge after 3.11 earthquake disaster and move, and in the latter part of the collection, she expresses her daily life with her child with tanka about nature as more peacefully as “3.11 Tanka Collection” is forgotten. In the situation anyone can say about 3.11, it is meaningless to distinguish which has more completeness in literature and artistic value between tanka by the general public and tanka about earthquake disaster by professional tanka poets. A dichotomous framework that the general public derive comfort from creating tanka about earthquake disaster and professional poets express fear and pain of creation is not also valid, for Tanka poets such as Machi Tawara select refuge, overcome 3.11 earthquake disaster in her own way and are pioneering a new tanka world for themselves beyond tanka about earthquake disaster.