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ドストエフスキイの『地下室の手記』が現代文学の始原の一つに位置付けられ、この作品の画期的性格を喧伝したシェストフの『悲劇の哲学』を介して、昭和文学に大きな影響を与えたことはつとに知られている。本稿はシェストフ論争に至るまでの『地下室の手記』の初期の紹介について、森田草平の翻案『霙』を中心に概観し、ついで『悲劇の哲学』の翻訳者阿部六郎がこの翻訳を行った背景について述べる。また、あわせてもう一人の共訳...者河上徹太郎がシェストフの流行をどのように見ていたか、簡単に紹介したい。
We survey introductions of Notes from Underground in Japan to the early stages of Showa and investigate characteristics of its adaptation Sleet by Morita Sohei. Sleet is noteworthy as the earliest introduction of Notes from Underground. However, it omits the first part of the original and moves the setting from Petersburg to Tokyo in the Taisho era, so that it lacks criticism of modern civilization in Western Europe and the way of modern life. It becomes mainly a drama of conflicts between a man and a woman, which reflects Morita's own literary concerns. Abe Rokuro, one of the translators of Shestov's The Philosophy of Tragedy, had taken part in the proletarian literature movement during 1927-28. He suffered from conflicts between 'the inevitability of history' in Marxism and his own existence, and left the movement as a result. He found problems of a fall into 'underground' and 'the rebirth of a faith' argued in The Philosophy of Tragedy his own problems. He also sufficiently recognized the religious character of Notes from Underground as well as the other translator, Kawakami Tetsutaro.続きを見る
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Mendeley出力
KJ00005484117