WEKO3
アイテム
中上健次とガルシア=マルケス
https://doi.org/10.15083/00037468
https://doi.org/10.15083/0003746889a50bad-df15-482b-9620-bfdb97a1cce4
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
reny004026.pdf (1.2 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2013-05-01 | |||||
| タイトル | ||||||
| タイトル | 中上健次とガルシア=マルケス | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 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 | 10.15083/00037468 | |||||
| ID登録タイプ | JaLC | |||||
| その他のタイトル | ||||||
| その他のタイトル | Kenji Nakagami and García Márquez | |||||
| 著者 |
今井, 亮一
× 今井, 亮一 |
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| 著者別名 | ||||||
| 識別子Scheme | WEKO | |||||
| 識別子 | 88696 | |||||
| 姓名 | Imai, Ryoichi | |||||
| 著者所属 | ||||||
| 値 | 東京大学大学院人文社会系研究科 | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | It is often commented that Gabriel García Márquez was influenced by William Faulkner and that Kenji Nakagami was influenced by both of them. True, García Márquez and Nakagami candidly admitted their debt to Faulkner, and obviously Nakagami was conscious of García Márquez as a significant contemporary. Nakagami, however, repeatedly denied García Márquez’s influence although he avowed that he admired Latin American writers, including García Márquez. Why did he behave like that? In this paper, I attempt to answer this question by analyzing his work and statements. In 1977, after writing Karekinada, Nakagami started the research of the actual Buraku, on which roji, his fictional locale, is based, and as a result wrote nonfiction works, Kishu: ki no kui, ne no kuni monogatari and some chapters of Kumanoshu. Through writing these books, Nakagmi discovered new characteristics of roji: the rich tradition of oral stories, and the existence of the great mother. They became new themes for his novels and led him to change his style and write a new type of works, such as Sennenn no yuraku, which is often compared with García Márquez’s Cien años de soledad. In this work, Nakagami also started trying to identify with roji communities all over the world —— in his view such communities as the Ainu, Asian towns and Latin American cities. The use of traditional narratives and the existence of the great mother are the elements shared by Sennnenn no yuraku and Cien años de soledad, but Nakagami was confident that he had invented a new way to use the traditional narratives in his work, and this led him to deny García Márquez’s influence adamantly. Nevertheless, since Nakagami was aware that he shared the motif of the great mother with García Márquez, he openly expressed his sense of camaraderie with the Latin American novelist. | |||||
| 内容記述 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 特集 ラテン文学 | |||||
| 内容記述 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 大学院生・学生論文 | |||||
| 書誌情報 |
れにくさ : 現代文芸論研究室論集 巻 4, p. 298-314, 発行日 2013-03-29 |
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| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AA1243121X | |||||
| 出版者 | ||||||
| 出版者 | 現代文芸論研究室 | |||||
