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いつまでも父の娘？ ― 柳美里文学における父娘関係をめぐって
https://doi.org/10.34577/00004586
https://doi.org/10.34577/0000458679edc8d9-e0ce-4392-8eda-5db0e4e144c9
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
いつまでも父の娘？ ― 柳美里文学における父娘関係をめぐって (1.1 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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| 公開日 | 2020-01-23 | |||||
| タイトル | ||||||
| タイトル | いつまでも父の娘？ ― 柳美里文学における父娘関係をめぐって | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | Forever Daddy’s Girl? : The Father-Daughter Relationship in Yu Miri’s Works | |||||
| 言語 | en | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.34577/00004586 | |||||
| ID登録タイプ | JaLC | |||||
| アクセス権 | ||||||
| アクセス権 | open access | |||||
| アクセス権URI | http://purl.org/coar/access_right/c_abf2 | |||||
| 著者 |
グアリーニ, レティツィア
× グアリーニ, レティツィア |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Yu Miri made her debut in 1988 and 1994 as a playwright and a novelist respectively. Since her career started with Fish Festival (Sakana no matsuri), awarded the prestigious Kishida Prize for Drama (Kishida Kunio Gikyokushō) in 1993, and Family Cinema (Kazoku cinema), awarded the Akutagawa Prize in 1997, Yu Miri wrote extensively about the family. Both in her fiction and non-fiction works she has described the collapse and rebirth of the modern family, exploring the role of the father and his relationship with the daughter. In her works she has often depicted daughters who are caught in between love and hate toward their father, and who cannot escape from his control. The family is a well-known theme in Yu Miri’s work, which has been often discussed. On the other hand, not much attention has been paid to the father-daughter relationship yet. The aim of this paper is to analyze how the representation of the father-daughter pair has changed from Yu Miri’s early works until the publication of the non-fiction book Family Secret (Famirī shīkuretto) in 2010, and the way Yu Miri used literature as a tool to distance herself from two fatherly figures who have effected her literature since her debut: her real father, who is considered the model for many of the fathers who appear in her early works, and Higashi Yutaka, who is considered her literary father by the writer herself. In this paper I will first focus on the representation of the father in Yu Miri’s early works, and I will compare it with the father-daughter relationship as it is depicted in Family Secret. As I demonstrate in the first section of this paper, both in her early novels and essays Yu Miri has often written about dysfunctional families, focusing especially on the depiction of abusive fathers. With Family Secret, her first nonfiction work, she has again tried to use literature as a tool to escape from the father’s control, this time showing that memories, in their reproduction of the past, are nothing more than fiction. I will then look at the “post-family” Yu has created in the tetralogy Life (Inochi), and the way this topic has been further developed in the novel After the Rain and Dreams (Ame to yume no ato ni). I will focus on the way the ideology of the modern family is overcome in this novel, and how the father-daughter relationship in it depicted differs from Yu’s previous works. After the Rain and Dreams is an important work also because it deals with the death of Yu’s literary father, Higashi Yutaka, and his relationship with the writer. In the final section of this paper I will move onto an analysis of the novel Black (Kuro), showing how Yu Miri, after mourning Higashi throughout the tetralogy Life, has distanced herself from her mentor, and finally become independent from the power of his words. |
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| 言語 | en | |||||
| 書誌情報 |
ja : ジェンダー&セクシュアリティ 号 13, p. 111-136, 発行日 2018-03-31 |
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| 出版者 | ||||||
| 出版者 | 国際基督教大学 | |||||
| 言語 | ja | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 18804764 | |||||
