｢満洲｣児童文学における｢悲劇｣の象徴と暗示 :平方久直の創作童話｢線路｣を再考

• 영문명: The Tragic Symbols and Allusions in The Tragedy of Colonial “Manchuria” Children's Literature :A Re-examination of Hirakata Hisanao's Work Railway(｢線路｣)
• 발행기관: 고려대학교 글로벌일본연구원
• 저자명: 수이채우(Ze-yu Sui)
• 간행물 정보: 『일본연구』第42輯, 125~148쪽, 전체 24쪽
• 주제분류: 인문학 > 문학
• 파일형태: PDF
• 발행일자: 2024.08.31

국문 초록

This Hirakata Hisanao (1904-1990) was one of a few Japanese writers composing around Chinese children as main characters during the SecondSino-Japanese War. The main research subject Railway was created by Hirakata in Colonial “Manchuria”. Tan, the protagonist, was a ten-year-old Manchurian girl. She was working as a maid in a Japanese family at a young age due to family poverty. Missing her hometown and feeling lonely, Tan eventually escaped from the family in secret, and decided to walk back home along the railway that she had took before. Unfortunately, she took the opposite direction. This paper reexamined the work Railway(｢線路｣) by considering the background of its creation and presenting new possibilities for reading and reevaluation through close reading and analysis of the text, while discovering the “otherness” of this work that has been overlooked. First, this paper considers the author's background and the historical context of the time of creation. Under the strict censorship of speech, Hirakata, like other Japanese children’s literature writers in Colonial “Manchuria”, created works within a limited scope during the wartime, within which Railway(｢線路｣) was born as an atypical piece. Furthermore, this paper analyzes the character portrayals and their symbolic meanings. In the first half of the work, the image of the Manchurian girl symbolizes the “savagery” of the colony, while the image of the Japanese “master” symbolizes Japan's “advanced civilization.” This construction of images can also be seen as a realistic reflection of the living conditions of locals in the colony and the educational situation of children. However, in the second half of the work, the “civilized” Japanese “master” gradually appears as a villain, demonstrating the brutality and hypocrisy of the invaders. Meanwhile, the Manchurian girl Tan escapes from the Japanese household, showcasing a rebellious attitude of colonial children. Considering the historical background of the creation, such character portrayals are indeed rare. This is one aspect of the “otherness” referred to in this paper. Additionally, while the ending of the story can be interpreted as tragic, the depiction reveals that the author maintains a positive stance towards her rebellion. At the end of the story, the author bestows a small star onto Tan, symbolizing hope. The author’s positive attitude towards the rebellion of the Manchurian girl represents another aspect of this work’s “otherness.” Finally, under the harsh censorship of speech, the reason why such an atypical work came into existence is attributed to the profound conflict brought about by the author's dual identity as a “colonial educational supporter” and “elementary school teacher and children’s literature writer.”

영문 초록

平方久直(1904-1990)は､戦時において中国の百姓や子どもを主人公にして作品を書いた数少ない児童文学作家のひとりである｡本稿の研究対象｢線路｣は､平方が｢満洲｣にて創作した童話で､貧しい｢満洲人｣の家の娘のタンを主人公にした物語である｡十歳のタンは､故郷の村から遠い町の日本人の家に奉公するに送られたが､余りの寂しさと親思いでこっそりと日本人の家から逃げた｡タンは汽車の線路沿いで故郷へ歩いて帰ることを決めて歩き出したが､その向かう方向は実は故郷と真逆だという悲しい結末で物語は終わる｡本稿は､作品の創作背景を考察した上で､テキストの精読·分析を通じて､童話｢線路｣を再考し､今まで看過された本作品の｢異質性｣を見出し､新たな読みの可能性および再評価の可能性を提示した｡ 本稿はまず作者の背景の創作の時代背景を考察した｡戦時の厳しい言論統制のもと､平方はほかの在満日本人児童文学作家と同様に､限られた範囲内で創作していたが､その中､｢線路｣は異質的な作品として誕生した｡そして､本稿は登場人物の人物像とその象徴的意味を分析した｡作品の前半において､｢満洲｣少女のイメージは植民地の｢未開｣を象徴し､日本｢主人｣のイメージは日本の｢高度文明｣を象徴する｡こうしたイメージ作りはまた植民地の百姓の生活状況と児童の教育状況をリアルに反映する写実的なものとも考える｡しかし､作品の後半では､｢文明｣の日本｢主人｣はだんだん侵略者の暴戻と欺瞞を示す｢悪役｣に見える｡一方､｢満洲｣少女タンは日本人の家から逃げ出し､植民地児童の反抗的な態度を示した｡創作の時代背景を考えると､このような人物像は実にまれにしかない｡これが本稿がいう｢異質性｣の一つである｡そして､物語の結末は､悲劇として捉えるが､その描写から見ると､作者は彼女の反抗に対して肯定的な姿勢をとることがわかる｡そして､物語の最後､作者はまた､タンに希望を象徴する小さな星光をつけてあげた｡｢満洲｣少女の反抗に作者が肯定的な態度を表すことは､この作品のもう一つの｢異質性｣である｡最後､厳しい言論統制のもと､このような異質的な作品が誕生した理由について､本稿は､試しに作者の｢植民側の教育支援者｣と｢小学校教師·児童文学作家｣という二重の身分がもたらした心底の葛藤に帰結した｡

목차

Ⅰ. はじめに

Ⅱ. ｢線路｣の創作背景

Ⅲ. ｢線路｣における人物像とその象徴

Ⅳ. 結末:暗闇の中の小さなひかり

Ⅴ. 終わりに

키워드

Rokujo Monogatariawase Koshikibu Short Monogatari Neawase Monogatari Salon 戦時子ども文学 植民地日本語文学 ｢満洲｣児童文学 平方久直 ｢線路｣