다자이 오사무(太宰治) 문학에 나타난 전후 일본의 사회상

• 영문명: The Postwar Japanese Society in the Literature of DAZAI Osamu - In Conjunction with the ‘DAZAI myth’ Formed by the Postwar Media -
• 발행기관: 일본어문학회
• 저자명: 홍명희(Hong, Myung-Hee)
• 간행물 정보: 『일본어문학』日本語文學 第82輯, 473~492쪽, 전체 20쪽
• 주제분류: 어문학 > 일본어와문학
• 파일형태: PDF
• 발행일자: 2018.08.30

국문 초록

本稿では、太宰治文学に表れた戦後日本の社会像を確認した。まず、1948年当時、不況に陥っていた出版界は、太宰の情死というスキャンダルを積極的に報道する新聞や雑誌などのメディアの戦略、また知的好奇心に 飢えていた読者の存在により、太宰の多くの作品を販売することができ、 それが｢太宰神話｣への発端となった。第二に、1948年1月に発表された｢饗 応夫人｣には、本郷の医大の教授でありながら、戦場から帰還し、戦後の 困難な状況を余儀なく体現させられ、利己主義者として軽薄に振る舞う笹島、また夫の生死不明による深い喪失感や悲しみ、そして経済的、肉体的 困難を前にしても、その心情を露にせず耐えつつ、笹島たちの図々しい要 求に饗応し奉仕する｢夫人｣、さらにそういった｢夫人｣の辛さや優しさを理 解し、最終的に救済する、語り手の<私>が登場する。第三に、こういった｢饗応夫人｣の三人のあり様は、􋺷人間失格􋺸の堀木やヒラメ、葉蔵、｢後記｣ に登場するマダムの関係やあり様と似ている。｢饗応夫人｣は孤独を体現す る現代の読者にとって、深い共感や慰めを与えるという意味において、戦 後メデイアによって発現された｢太宰神話｣の新たな例となるだろう。

영문 초록

In this article, I have confirmed that the postwar Japan society surrounding the DAZAI Osamu literature has complex and diverse realities. 1) In 1948, the publishing world, which had been in recession, for media such as newspapers and magazines actively reporting on DAZAI’s death, and the presence of readers who were starved for intellectual anxiety, was able to sell many of DAZAI’s works as books, and this was the beginning of the DAZAI boom and ‘DAZAI myth’. 2) Three people who lived in the post- war appeared in “Mrs. Feast” released in January 1948. Sasajima is a medical professor in Tokyo who returned from the war. He is a person who embodies the difficult situation after the war, clearly grasping the situation and shaking it as a light selfish person. ‘Mrs. Feast’ does not reveal her feelings, even before her deep sense of loss and sadness, economic, and physical difficulties due to her husband s life-and-death uncertainty, and served. The narrator, , rescues ‘Mrs. Feast’ by understanding her suffering and ultimately assimilating to it. 3) The relationship of the three persons of “Mrs. Feast” resembles the relation of Horiki, Yojo, and Madam of “No Longer Human”. “Mrs. Feast” will be a new example of the “New DAZAI myth” developed by the media after the war in the sense that it gives deep sympathy and comfort to the modern readers embodying loneliness.