WEKO3
アイテム
平林たい子と彼女の「満洲」体験物語 : 作品における空間の意味と機能をめぐって
https://ushimane.repo.nii.ac.jp/records/2002
https://ushimane.repo.nii.ac.jp/records/20020d06d278-6144-4e5f-a7dc-681a4aaa275c
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
HCNE202103001.pdf (1.2 MB)
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| アイテムタイプ | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||
|---|---|---|---|---|---|---|---|---|---|---|
| 公開日 | 2021-05-07 | |||||||||
| タイトル | ||||||||||
| タイトル | 平林たい子と彼女の「満洲」体験物語 : 作品における空間の意味と機能をめぐって | |||||||||
| 言語 | ja | |||||||||
| タイトル | ||||||||||
| タイトル | Hirabayashi Taiko and her “Manchuria” experience story : focused on the meaning and function of space in her novels | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 平林たい子 | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 満洲 | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 空間 | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | 植民地化 | |||||||||
| キーワード | ||||||||||
| 主題Scheme | Other | |||||||||
| 主題 | アイデンティティ | |||||||||
| 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 | |||||||||
| 著者 |
楊, 佳嘉
× 楊, 佳嘉
× YANG, Jiajia
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | This paper discusses Hirabayashi Taiko’s self-representation novels of "Nagesuteyo!"（Throw it away!, 1927） and "Seryōshitsu nite" （In the Charity ward, 1927） which reproduce her Manchuria experience, by analyzing through a compound-eye perspective of gender, class, and ethnicity. Considering the two novels as a continuous story, this study pays attention to the arrangement of the space and protagonist’s movement between different spaces described in fictions. It declares 3 aspects about the meaning and function of space in her works. Firstly, the space of railroad company in "Nagesuteyo!" symbolizes an obvious colonial space, in which the protagonist was oppressed by class and gender, and coolies were oppressed by class and ethnicity. In this space, the representation of coolies interlocks to the representation of Hirabayashi Taiko herself. Secondly, the space of Charity ward in "Seryōshitsu nite" implies the potential colonial space within the Japanese, in which the protagonist was treated like an animal, and this is similar to the coolies’ situation in the obvious colonial space mentioned above. Thirdly, the scenes of intercultural encounter and movement between different spaces promote the change of protagonist’s identity from an inferior female labor / wife / mother to be a socialist warrior. In her works, it shows a complex composition about imperialism and colonialism which are inherent in capitalism and patriarchy. It is apparent that Hirabayashi Taiko demonstrated a critical attitude to the framework of the empire, and represented the subalterns who were sacrificed and excluded from this framework. Thus, Hirabayashi Taiko’s self-representation novels are not only a self-speaking work, but also a work for the subalterns such as coolies and female labors. Her Manchurian experience story is a subaltern rewrite of a female writer with a compound eye of ethnicity, class, and gender, requesting the unequally allocated framework itself. The Manchuria experience in the 1920s was an opportunity for Hirabayashi Taiko to discover the subalterns, and the starting point for her to create subaltern stories. | |||||||||
| 書誌情報 |
北東アジア研究 en : Shimane journal of North East Asian research : North East Asian region 巻 32, p. 1-18, 発行日 2021-03-31 |
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| 出版者 | ||||||||||
| 出版者 | 島根県立大学北東アジア地域研究センター | |||||||||
| ISSN | ||||||||||
| 収録物識別子タイプ | PISSN | |||||||||
| 収録物識別子 | 1346-3810 | |||||||||
| 書誌レコードID | ||||||||||
| 収録物識別子タイプ | NCID | |||||||||
| 収録物識別子 | AA11551293 | |||||||||
| 著者版フラグ | ||||||||||
| 出版タイプ | AM | |||||||||
| 出版タイプResource | http://purl.org/coar/version/c_ab4af688f83e57aa | |||||||||
| 資料タイプ | ||||||||||
| 内容記述タイプ | Other | |||||||||
| 内容記述 | 論文 | |||||||||
