@article{oai:icu.repo.nii.ac.jp:00004759,
 author = {グアリーニ, レティツィア},
 issue = {13},
 journal = {ジェンダー&セクシュアリティ},
 month = {Mar},
 note = {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.},
 pages = {111--136},
 title = {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},
 year = {2018}
}