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.