Literary Function of “Peeping” in Literary History: Between Subject and Non-subject

The character in the literary text goes through the “hole” to the other side, and by doing so becomes the protagonist. Very often, the narrative discourse spoken in the third person naturally transforms into a first-person narrative. Why is this happening? This essay will study the motif of the “hol...

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Bibliographic Details
Published inModern Japanese Literary Studies Vol. 106; pp. 34 - 49
Main Author NAGAI, Kiyotake
Format Journal Article
LanguageJapanese
Published Association for Moedern Japanese Literary Studies 15.05.2022
日本近代文学会
Subjects
affordance
free indirect speech
history of expressions
history of style
mediopassive voice
中動態
文体史
環境
自由間接話法
表現史
Online AccessGet full text
ISSN0549-3749
2424-1482
DOI10.19018/nihonkindaibungaku.106.0_34

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Summary:The character in the literary text goes through the “hole” to the other side, and by doing so becomes the protagonist. Very often, the narrative discourse spoken in the third person naturally transforms into a first-person narrative. Why is this happening? This essay will study the motif of the “holes” and the corresponding change of narrative perspectives as seen in Ukigumo, Futon, Rashomon, Yaneura no Sanposha, and Snow Country. It will analyze the historical significance and the probability of free indirect speech style. Through this essay, I would like to raise a question about the possibility of writing literary history that is not based on “author” or “canon,” that is, the history of intertextual stylistic history and expressions.
ISSN:0549-3749
2424-1482
DOI:10.19018/nihonkindaibungaku.106.0_34