研究計画では、書き換えのケースについて、①作家が自分自身の原稿を書きかえる場合、②作家が他者の作品を自分の作品として書きかえる場合、③検閲などの制度、を挙げた。今年度は主に②についての成果を出すことができた。まず、久生十蘭の「刺客」を取り上げ、シェイクスピアの「ハムレット」と比較し、精神分析やミステリーの状況をふまえて考察した。〈書き直し〉は反復とずらしを含むため、小説においても、演劇的な構成と関連付けられる傾向があることを明らかにした。次に、安岡章太郎の「流離譚」について、歴史的な資料の書き直しという観点から考察を行った。著名ではない人物を取り上げ、空白を含んだまま歴史を描くことの意義を明らかにした。ただし、covid19にかかわる特殊状況のため、資料調査が計画通りに進まなかった点もある。①③と合わせて、今後の課題とする。
In the research plan, the following three points were mentioned for the case of rewriting. (1) When the writer rewrites his own work, (2) When the writer rewrites the work of another person as his own work, (3) Censorship and other systems. This year, I mainly achieved results regarding (2). First, I took up Juran Hisao's "Shikaku", compared it with Shakespeare's "Hamlet", and considered it based on psychoanalysis and situation of mystery. Rewriting includes repetition and shifting. Therefore, it was clarified that even in the novel, it tends to be associated with the theatrical composition. Next, I considered Shotaro Yasuoka's "Ryuri-tan" from the perspective of rewriting historical materials. He picked up many persons who were not famous and clarified the significance of drawing history with a blank space. However, due to the special situation related to covid19, the material survey did not proceed as planned. Together with ① and ③, it will be a future issue.