En förväntad ökning av jordens befolkning ställer den redan ökande fiberkonsumtionen på sin spets. Bomull är en av de mest frekvent använda textilfibrerna men dess vatten- och kemikalieanvändning i framställningsprocessen har lett till förödande konsekvenser för människa och miljö. Flera alternativa, hållbara fibrer behöver därmed introduceras på marknaden. Garn av papper från råvaran abacá har länge använts till textila ändamål till följd av dess goda mekaniska egenskaper. På senare år har intresset för fibern ökat främst på grund av dess miljömässiga fördelar i jämförelse med bomull. Garn av papper är dock styvt och känns strävt mot huden. För att vidga pappersgarnets användningsområden måste därför dess taktila egenskaper förbättras genom någon typ av behandling. Textilproduktion är kemikaliekrävande och flertalet av kemikalierna som används är miljö- och hälsofarliga. Det är därför av intresse att hitta en mekanisk metod för mjukgöring snarare än en kemisk. En sådan mjukgöring har därav utvecklats och undersökts inom projektets ramar. Mjukgöringen är en smärglingsbehandling i garnform där garnet leds genom en bladspännare utrustad med två sandpapper som smärgeldukar. Behandlingen ämnar öka antalet utstickande fiberändar och på så vis efterlikna känslan av ett stapelfibergarn. Genom att garnet behandlas redan i garnstadiet kan det sedan användas till valfri textil konstruktionsteknik. För att undersöka effekten av smärglingsbehandlingen har studien delats in i två delar. Den ena delen undersöker två klassiska denimvävar av 100 % papper där väftgarnet i den ena väven har smärglats en gång medan väftgarnet i den andra är obehandlat. Kawabata Evaluation System (KES) har använts för att objektivt analysera vävarnas taktila egenskaper, alltså hur de känns vid beröring. För att undersöka hur vävens ytstruktur förändrats till följd av behandlingen har provkropparna fotograferats i svepelektronmikroskop (SEM) och ljusmikroskop. Studiens andra del undersöker effekten av upprepade smärglingsbehandlingar på garn. Pappersgarner som behandlats mellan noll och fem gånger undersöks dels gällande dess mekaniska egenskaper men även visuellt i SEM och med hjälp av ljusmikroskop. Behandlingen förväntas minska garnets styrka. För att kontrollera om de behandlade garnerna är tillräckligt starka för att användas i en industriell vävprocess trots den mekaniska degraderingen jämfördes deras styrka med ett referensgarn av bomull. Majoriteten av resultaten från KES-testerna visar på att det inte är någon skillnad mellan en obehandlad väv och en väv vars väftgarn är smärglat en gång. Den behandlade väven är dock lättare att komprimera och har en större initial tjocklek än den obehandlade väven. Detta tyder på att smärglingen kan ha ändrat garnernas diameter vilket resulterat i högre invävning och därmed ökad vikt och tjocklek. Den visuella undersökningen av garnerna i ljusmikroskop pekar mot ett ökat antal utstickande fiberändar i takt med ökat antal behandlingar. Dock är skillnaden mellan det osmärglade garnet och det garn som enbart smärglats en gång liten. Dragprovning av garn visar att det pappersgarn som smärglats fem gånger har signifikant lägre brottkraft än de övriga pappersgarnerna men är starkare än referensgarnet i bomull. Detta styrker förväntningen om att smärgling försämrar styrkan på garnet men visar också att de behandlade garnerna, trots den minskade styrkan, bör vara tillräckligt starka för att användas som väftgarn i maskinell vävning. Fiberändarnas effekt i en denimväv behöver undersökas vidare för att en slutsats kring hur de påverkar den taktila komforten ska kunna dras. Metoden för garnsmärgling är i sin initiala fas och flera parametrar behöver undersökas närmare innan metoden skulle kunna implementeras på industriell skala som en metod för mjukgöring av pappersgarn med syfte att främja den framtida fibermångfalden. / An expected population increase and rising consumption of textile fibres creates a demand for both new materials and processes. Cotton is one of the most frequently used fibres but its use is resource intensive both in terms of water and chemical agents. To meet these demands a range of alternative, sustainable fibres need to be developed and introduced into the market. Due to its good mechanical properties paper yarns produced from the abacá plant have long been used in textile applications. In recent years it has also garnered increased interest as a result of its environmental benefits in comparison to cotton. However, paper yarns tend to be stiff and feel coarse in contact with skin. In order for paper yarns to have larger fields of use its tactile qualities must therefore be improved. The production of textiles is generally reliant on the use of chemicals that in varying degree pose threats both to human health and the environment as a whole. It would therefore be beneficial to develop a method for the softening of paper yarns that is based on a mechanical approach, rather than a chemical one. In this project a mechanical method of softening paper yarns has been developed and tested. The softening process is an altered approach to conventional emery grinding and is performed on yarn rather than fabric. The yarn is guided through a leaf tensioner fitted with two sand papers with the purpose to increase the number of protruding fibre ends, thereby reproducing the feel of staple fibre yarns. In order to investigate the effects of the emery grinding two classical denim weaves were produced from 100 % paper yarn. The weft yarn in one of the weaves was emery ground once while the other was left untreated. Kawabata Evaluation System (KES) was used to objectively analyze the tactile qualities of the differently treated weaves. In addition to KES-tests Scanning Electron Microscopy and light microscopy was utilized for a visual analysis. Since it would also be of interest to study the effects of repeated treatments, yarn treated up to five times was inspected both visually and mechanically. The emery grinding process is expected to decrease the strength of the yarn. To check whether the emery ground yarns were strong enough to be used in an industrial weaving process, its strength was compared to a cotton yarn previously used as a weft yarn in a denim weave. Results from KES show no significant changes concerning the majority of parameters tested on the weaves. The treated weave is however easier to compress and presents an increase in initial thickness when compared to the untreated one. This indicates that the emery grinding may have altered the yarns diameter resulting in a higher crimp in the weave causing an increase in the weight and thickness of the fabric. The visual inspection of the yarns using a digital microscope point to an increase in protruding fibre ends as the number of treatments increase. The difference between untreated paper yarn and yarn that had been emery ground once was however small. The tensile test shows that yarn that had been treated five times had a significantly lower tensile strength compared to the other paper yarns but was still stronger than the cotton yarn. This indicates that emery grinding does indeed decrease the tensile strength of the paper yarn, but that it still should be strong enough to be used in industrial weaving. Paper yarn treated more than once would have to be studied further in order to come to a conclusion about their impact on the tactile comfort of the weave. The method of emery grinding is in its initial phase and a number of parameters can be assumed to have an effect on the results of the process. In the interest of creating more diversity in textile fibres the effects of these parameters would all have to be explored before this method can be implemented on an industrial scale for the softening of paper yarns.

Recourant volontiers au voilement ou à un jeu de paravents, l’écriture pudique est marquée par la précaution – souvent troublante en soi – d’éviter de provoquer le trouble chez son lecteur. Hamaguri d’Aki Shimazaki se construit autour d’un noyau apparemment contradictoire qui transcende le tabou de l’inceste. L’étude de ce roman, mis en parallèle avec L’amant de Duras et Les belles endormies de Kawabata, permet de mettre en relief un érotisme pudique dont la principale caractéristique consiste en une remise en cause de son principe transgressif, découlant de la dissolution de la limite tracée par l’interdit. Dans un phénomène de coïncidence des opposés, l’érotisme pudique aplanit le rapport dualiste entre des éléments donnés comme inconciliables : chair et esprit, Éros et Thanatos, licite et illicite. Empreint de ce type d’érotisme, Probablement personne met en scène une jeune femme et son professeur de peinture sumi-e, de quarante ans son aîné. Une passion indéfinissable, à la lisière de la hantise, les lie de plus en plus étroitement l’un à l’autre. Leur relation se joue dans le non-dit, les regards, la gestuelle; elle se révèle graduellement à travers des traits d’encre sur le papier et la symbolique de la fleur : fascinante, cueillie, flétrie… Leur drame se joue dans la zone grise entre ce qui a eu lieu et n’a jamais eu lieu. / With its active usage of veils and folding screens, modesty writing is characterized by a certain precaution – often unsettling in and of itself – that is intended to avoid exciting readers. Aki Shimazaki’s Hamaguri is constructed on such a seemingly contradictory core that transcends the taboo of incest. A comparative analysis of this novel using Duras’ The Lover and Kawabata’s The House of the Sleeping Beauties allows one to uncover a certain erotic modesty, whose defining characteristic is that it undermines transgression when the boundaries of the forbidden are broken down. In a phenomenon where opposites collide, erotic modesty bridges the dualistic gap that exists between elements once considered incompatible: body and soul, Eros and Thanatos, that which is permitted and the forbidden. Infused with this particular form of eroticism, Probablement personne acquaints readers with a young woman and her sumi-e painting professor, who is forty years her senior. An incommunicable bond develops, bordering on haunting, and ties the two closer together. Their relationship transpires in the unspoken, looks as well as gestures, gradually unveiling itself through strokes of ink on paper and floral symbolism: captivating, picked, wilted. Their drama unfolds in the grey area between what really happens, and what does not.

本論文では，計量的な手法を用いて川端康成の代筆問題と文体問題に取り組み，次に挙げたことを明らかにした。①小説『乙女の港』と『花日記』は川端康成と中里恒子の共同執筆である。②『コスモスの友』，『古都』，『眠れる美女』と『山の音』は代筆の可能性が低い。③泉鏡花，徳田秋聲と横光利一と比べ川端康成文体の存在が確認され，終戦の1945 年を境に川端康成の語彙の豊富さと，機能語の助詞，副詞，接続詞に変化が見られた。 / In this study, we revealed the following ghostwriting and writing style problem of Kawabata quantitatively. ①Otome no minato and Hana nikki were colloboratively written by Kawabata and Nakazato. ② Kosumosu no tomo, The Old Capital, House of the Sleeping Beauties, and The Sound of the Mountain were not written by the suspected ghostwriters. ③ Kawabata has his own writing style as compared to novels written by Izumi, Tokuda, and Yokomitsu. Changes were observed in vocabulary richness, postpositional particles, adverb, and conjunctions in Kawabata's novels after the second world war. / 博士(文化情報学) / Doctor of Culture and Information Science / 同志社大学 / Doshisha University

本論文以川端康成的《山之音》《湖》《睡美人》《蒲公英》為切入視點，考察川端康成老人文學中老年的生(性)。 本論之中心課題乃以川端處女作的《十六歲的日記》(1918)為首，歷經《伊豆的舞孃》《雪國》《千羽鶴》《睡美人》等名作，到未完成的遺作《蒲公英》(1968)為止，考察川端在作品世界究竟是以何種形式，將透過末期之眼所映照出之逸脫的自然來具體呈現、使其達成變化。 本論文由六個章節所組成，第一章闡述研究動機、研究方法，第二章著眼於四部作品中具體呈現的魔界空間性、脫離現實之程度、魔界之異空間及置身其中 之老人間的關係性，並嘗試分析各個相異的特徵。第三章則探討自覺到衰老之老人自我意識，與凝視老人之衰老的他者視線兩者間如何產生交疊與共鳴。第四章則是剖析老人在非日常性的魔界空間中，藉由各種聲音表現來對抗面對死亡的恐懼，並以此作為對冥界的線索，進而跨越、試圖達成生命回復之身影。在第五章則論述老年的情慾感覺如何捕捉與老人有性關係的女性身體並掌握其表徵，再根據西格蒙德‧佛洛伊德的《性理論三篇》、《夢之解析》來闡述老人之擬似性行為與夢的意涵。 / This dissertation is viewed from the works of Yasunari Kawabata─ "Yama no Oto", "Mitsuumi", "Nemunerubizyo" and "Tanpopo" to discuss the elderly’s spirit(Sexuality) in the Elder Literature. The topic begins with the maiden work of Kawabata─ "Zyuurossai no Nikki"(1918)and goes through his other famous works─ "Izu no Odoriko", "Yukiguni", "Yama no Oto", "Senbaturu", "Nemunerubizyo", and the unfinished work─ "Tanpopo"(1968).This dissertation discusses the manner the author uses in the works’ situation to show and achieve the transcendence which is reflected by “the eye of dying”. The dissertation is composed of six chapters. The first chapter illustrates the motivation, and the methodology. The second chapter focuses on the spatiality in the Makai, the extent of distance from reality, the relationship between the elders and the Makai where they are situated. The differences among the preceding points would also be analyzed. Chapter three points out the self-identity of the elders who are aware of their aging, and shows the overlap and consonance happen between the elders and the onlookers who are observing the aging process. Chapter four would explore how the author manipulates the sound to present the confrontation of fear in death when the elders are in the unusual space of Makai, and how they take the sound for the clues of hell, trying to transcend and achieve the rebirth. In chapter five, the discussion is on the features of how the elders use the erotic affections to attract women who have sexual relations with them and grasp the features of the women’s body. Meanwhile, the theories of Sigmund Freud- "Three Essays on the Theory of Sexuality" and "The Interpretation of Dreams" are used to illustrate the connotation of the elder’s dream and their mock sexual behavior.

Literary Dependents focuses on diverse discourses on childhood that informed and impacted Japanese literature and society in the modern era. Through an analysis of magazines, literary works, and related media, this dissertation traces the ways childhood has been constructed and utilized in literary, social, political, and cultural discourse from the late nineteenth century to the present. As Japan strove to establish itself as a modern nation in the late nineteenth century, children and youth became a focal point of development as future citizens and leaders of the nation. Hence, images of children in print media were directly tied to Japan’s national identity in the modern world. The development did not stop in the twentieth century, and the concept of childhood underwent many shifts and changes. Taishō Democracy, the Second World War, the Allied Occupation, and the economic boom all brought about changes in the meaning and value of childhood to society, and in each period, new depictions of childhood abounded in print media. By exploring these developments, Literary Dependents seeks to understand how modern Japanese society has represented and utilized childhood as a way of shaping its visions and ideals regarding gender, family, life, art, and the future. The materials covered in Literary Dependents are publications that were intended for both children and adults, in which complex relationships between children and adults played out. The first chapter analyzes the Meiji period (1868-1912) women’s magazine Jogaku zasshi (Women’s Education Magazine, 1885-1904), showing how notions of the wise mother, hardworking wife, as well as a model language for women were constructed through its reading material for children. Chapter 2 centers around the translation of the American children’s novel Little Lord Fauntleroy (1885-1886) by Wakamatsu Shizuko, serialized from 1890 to 1892 in Jogaku zasshi, which provided an idealized image of the child, mother, and family, and was meant to show young women, rather than children, how to be mothers and how to create an ideal family. Chapter 3 discusses the literary space shared by children and adults in the children’s magazine Akai tori (Red Bird, 1918-1936), in which about one fifth of the pages were allotted to writings in prose and verse by children from across the empire. This chapter discusses the unique kind of authorship that arose from the collaboration between adults and children as the child writers themselves strove to fit the standards established by Akai tori. Chapter 4 further explores the issue of child authorship through the example of Toyoda Masako (1922-2010), whose elementary school compositions were repeatedly published in Akai tori, and in 1937, were published in a book titled Tsuzurikata kyōshitsu (Composition Class). This chapter rereads Toyoda’s writing in Tsuzurikata kyōshitsu intertextually, juxtaposing her own expressions with the critique and interpretations by educators and literary writers, as well as referencing her autobiographical writings from the postwar period. The juxtaposition elucidates the arbitrariness of the ideals that were attributed to children’s writing in 1920s and 30s Japan. Chapter 5 deals with the depiction of children with disabilities during the Second World War through an analysis of Kawabata Yasunari’s Utsukushii tabi (A Beautiful Journey), serialized in Shōjo no tomo (Girls’ Friend, 1908-1955) from 1939 to 1942. The serialization took place during a time of significant political change, which impacted the contents of Shōjo no tomo and the novel. The difficulty of continuing to write about a deaf-blind girl at such a time is evident in the abrupt turns in direction that the novel took during this time, moving away from depicting the disabled child and ultimately expressing colonialist and nationalist ideals. The sixth and last chapter explores the role of children in systems of distribution and consumption. In the immediate post-WWII period, reading material for children were scarce, not only because it was a general time of lack even for food, but also because strong nationalist/militarist sentiments found in wartime publications needed to be eliminated, or at least repackaged to fit the new environment. Yoshino Genzaburō’s Kimitachi wa dō ikiru ka (How Will You Guys Live?, 1937) was one text that underwent multiple “repackagings” in the postwar period. This chapter examines the different ways an “ethics” book was promoted under the changing historical conditions of post-WWII Japan. Although the materials covered in Literary Dependents center around those published in Japan, they are inextricably tied to other cultures and traverse national boundaries, not only through translation and adaptation, but also through intercultural interaction, collaboration, or travel. Furthermore, the dissertation connects childhood to other identities of gender, sexuality, disability, race, and class. Publications for children are often a coalescence of society’s myriad of networks as well as its most pressing issues, packaged and issued to an imagined child reader, which is itself an idealized image of the members of that society. The child and all of the ways it is imagined in print media can provide a unique window onto society and history. Hence, this dissertation explores the topic of the child in publishing culture, not to arrive at some definition of the child, but to better understand history through it. As much as children are dependent on adults and encounter publications through the mediation of adults, many aspects of the publishing industry are also dependent on children as readers, writers, consumers, images in marketing, or ideological figures. Literary Dependents is an investigation of mutual dependencies between the child and adult, publishing and literature, and print media and society.