【学術論文】
京都工芸繊維大学学術報告書　第 5 巻（平成 24 年 6 月）
BULLETIN OF KYOTO INSTITUTE OF TECHNOLOGY　5（Jun. 2012）
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$!%#?; $!"$*+0, « We always fail to talk about what we love » - On Ôoka Shôhei’s Stendhal studies –
k‰Œ”“re
Julie Brock
˳ŲŞľ́̎
Department of Architecture and Design
(2011 Ŧ 7 ǒ 26 džüɝăȴ2012 Ŧ 5 ǒ 16 džƩȷȂŃ)
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Ôoka Shôhei is very well known as a novelist, but he is also a great appreciator of Stendhal. He himself
divides his research on Stendhal into three periods: pre-war and war (1934-1944), where he discovered The
Charterhouse of Parma and dedicated several works to it, post-war (1948-1973), marked by his reading of
Aragon and Liprandi, where he wrote the scenario of a play entitled The Red and the Black, and finally the
period at the end of his life (1977-1988), where his interest, starting with Life of Henry Brulard, is in the
thematic of the autobiography. In his last article, entitled “We Always Fail to Talk of What We Love”, which
he left unfinished, Ôoka himself considers this reading journey which spanned his entire life. Using his
studies of Stendhal to fathom out the reasons why this writer fascinates him as a reader, he shares with
Stendhal, as a writer, the idea of a world that is reflected in novels as through a mirror.
Key-words :
Ôoka Shôhei, My Stendhal, autobiography, fiction, The Red and the Black, Barthes, Stendhal Studies
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Ǜǀ;ʹÿ-4ǀȱʪ
I - ĵŗLjťBǀȱ̿Ŧ°̬̀
ǀľºĕ
1950 - Ƕʣ̅ķª
ĵdžǛ̝ŭ³ˌˊɓ̿˴ˣ͂
ʃÊ1950 Ŧ 1 ǒĊ9 ǒĊ̀
1952 - ĵŗLjť̅ȣ
ìÍɓ̿˴ˣ͂
ǀ¹ɤ—Ċ̿1948 Ŧ 12 ǒ̀
Č˂ĠĊ̿1949 Ŧ 7 ǒ̀
ŕǕ
1951 Ŧ 1 ǒĊ8 ǒĊ̀
1952 -ĵŗLjť
̿ċǛ̀¿ʥʻìÍɓ
1961 - ʗŴ
ĸÓˋɓ̿˴ˣ͂
ĸÓˋ1958 Ŧ 8 ǒĊ1959 Ŧ 8 ǒĊK; 10 ġ˴ˣ̀
1971 - Ž_sƓʻ
ĸÓˋɓ
1973-75 - ĵŗLjťÑ̞ĸÓˋɓ
1984 - ĵŗLjť̞
ŘȊǐũ
1995 - ĵŗLjťÑ̞ɧƯǐƖ
ʅʾǐ
1932 - ]‘vŽ“k_vlo‘p”ˋ—]„‘lŨǀ—
ĵŗLjťʾ̟˂Ŏˇɤ—Ċ
1938-39 - lo‘p”z_v‘´
ĵŗLjťʾ
̥̦ɤ 1 Ċ3 Ċ
1939 - ]‹‘lo‘p”
ĵŗLjťʾìÍɓ
1942 - s^‚”tlo‘p”´
ĵŗLjťʾ̣ǘǐũ
1944 - {irelo‘p”ˋ
ĵŗLjťʾŎľ̴5 ǒ
1948 - lo‘p”ƅƍˋ˜™ĵŗLjťʾìÍɓ4 ǒ
1951 - lo‘p”|†BË̖˜™ĵŗLjťʾDŽȡɓ2 ǒ
1972 - lo‘p”˙<̼
ĵŗLjť“ąˑƗʾˌˊɓ
lo‘p”ʿˋ
1934 -lo‘p”
̟˂’\Œ`sɤ 7 Ċ̅ȸǐƖ10 ǒ
1935 -]‘Œ“Œ‰‹]Bȶȕ
̟˂ǀʘ˰Àɤ 8 ĊǀʘNjɗɓ8 ǒ
1936-37 – lo‘p”lo‘p”˼̞
ĵŗLjť“ŎǣǴɻɢǟǐƖ
1941 - lo‘p” z_v‘?8:
̟˂ǀľȻɤ 8 šɤ 8 ĊǀʘNjɗɓ8 ǒ
1944 - {irelo‘p”ˋʷˇ
̟˂lo‘p”ˋ
̿{ire!RFlo‘p”
ʟĵŗLjťʾ̀šǚBʷˇ
Ŏľ̴5 ǒ
1948 - |†BË̖?8: Ú̙Ŏˇˋ
̟˂ǀľȻɤ 2 šɤ 5 ĊǀľȻɓ5 ǒ
1966 - íõ?8:By”u
ĵŗLjťƔǏ“˙<̼šǚB<#$
ˌˊɓ11 ǒ
1973 - X#lo‘p”<#$
X#lo‘p”šǚB<#$
ɠ̲ǐƖ7 ǒ
1977 - `hql†<C
̟˂ʃÊ7 ǒȬĵĊˌˊɓ7 ǒ
1978 - ˈM
̟˂šǺ̻ɤ 47 Ċø̡ī11 ǒ
1980 - |†BË̖<øģĶťʻ
̟˂ǩüǶķ̞ɤ 7 šǒĬ.ŘȊǐũ10 ǒ
1981 - `h_lu46 lo‘p”Bĭċ
̟˂ʃÊ10 ǒȬäĊˌˊɓ10 ǒ
1982 - ĵǴBlo‘p”
̟˂ǀľȻDŽŦȬäĊǀʘNjɗɓ1 ǒ
1984 - |†BË̖?Ǝó
ǖdžDŽʊ̿ıá̀
ɤ 35237 ĊǖdžDŽʊɓ1984 Ŧ 2 ǒ 7 dž
1986 - džǛBlo‘p” lo‘p”ɐɟáʧ?ʼn1:
̟˂ȓȩɤ 5 šɤ 7 Ċ7 ǒ
1986 - lo‘p”Bz†Žru
̟˂LJɜȸǀľ
9 ǒ
15
9
1987 - ȥ̮ȎBɬˎ—džǛBlo‘p”
̟˂ȓȩɤ 6 šɤ 1 ĊɕǶǐũ1 ǒ
1989 - ƍ/UOB?8:K&˅V>—lo‘p”<ɖ 1
̟˂ȓȩɤ 8 šɤ 1 ĊɕǶǐũ
1ǒ
1989 - X#lo‘p”
ˌˊɓ
II – ĵŗLjť#ʹÿ-:Uǀȱ
džǛ˅ǀȱ
- ǩüǶķ̇ǘnj•̀ɻlo‘p”ɐɟɁȀɓ1986.
- ŜŸŃʐ´Bǀľ n”<lo‘p”
ŘȊDŽǐ1979.
- Ɇǘ—ö§øģĶťʻ
ĵ̒ǼdžDŽʊ? 1929 Ŧ1932 Ŧ˴ˣ.
- ʯŜ̍ķlo‘p”B˽ǐɁȀɓ1981.
- ʯŜ̍ķ…‹yBª lo‘p”
Ŏľ̴1981.
- ʯŜ̍ķʐ´<ŎˇB̐—]‘Œ“Œ‰‹”Bȶȕ?!(U J. =J. n”Bę̯ZN'7:
lo‘p”ɐɟɁȀɓ1986. Ɨā.
- ˑśȠ•̵̀ʓ̊
̟˂Ƴ˳
1927 Ŧ 2-12 ǒ. ˑśȠ•̀Ñ̞
ĸÓˋɓ1968.
IJģ˅ǀȱ
- Aragon (Louis), La Lumière de Stendhal, Denoël, 1954 ; lo‘p”BÏ̑ʄŎǣǴʾ̣ǘǐũ
1956.
- Barthes (Roland), On échoue toujours à parler de ce qu’on aime, Tel Quel, n°85, automne 1980, rééd. In Le
Bruissement de la langue, Ed. Seuil, 1984 ;ªC8A?ƍ/UOB?8:˅T2*>
ȃśȑťʾ
s
eluBÞĄL/0ǐƖ1987 ŦƗā.
- Del Litto (Victor), Stendhal au Japon. On a joué à Tôkyô "Le Rouge et le noir", Cahier de L'Alpe n°24, décembre
1966.
- Liprandi (Claude), Stendhal, le "Bord de l'eau" et "La note secrète", Ed. Aubanel père, 1949.
- Lukács (Georg), Balzac et le réalisme français, Ed. Maspéro, 1967.
- ƒ”“’\ŽŒ”’\ŽŒ”Ñ̞Ñ 12 šʝċĶ̀ɻɧƯǐƖ̿lo‘p”CɤÒš
Ɨā̀ 1971.
ʐ´?̑/Uǀȱ
1940 - lo‘p”]‘Œ“Œ‰‹”Bȶȕ
̓́Ƽ¦ʾŋŖƖ.
1968-73 - lo‘p”lo‘p”Ñ̞
ǩüǶķ“ȶŚ˾•ɻªǀǐ̖.
1971 – ̅̐ł̣ŦBȵȄÞǐƖ.
1976 – Ĩˑ̝̹Ǻ̢
ˌˊɓ.
1977 – ŚŒƸ̝ǺBæ
DŽȡɓ.
III – 2B®Bþʇǀȱ
De Vos (Patrick), dir., Littérature japonaise contemporaine, Ed. Philippe Picquier, 1989.
Sabouret (Jean-François), dir, L'Etat du Japon, Paris, La Découverte, 1988.
́¯ʻ
ĵŗBǺ"S•Ŧ#ɴ˸-4 1989 Ŧ?ˌˊɓCX#lo‘p”<ʪ̯ZÙŪȷ:ĵŗB
lo‘p”ˋǀ̞ZÞȪ-4*BǛ?Cɠ̲ǐƖ?āNSV:4J<[=Bˋǀ<2BŹ?ǐ"
V4ˋǀ#ā̊+V:U
16
10
1995 Ŧ?CɧƯǐƖ"S—8Ʌ?4UĵŗLjťÑ̞#áʧ+V4**?C˜;ʹÿ-4Ǒ
ŹBˋǀOāNSV:UűȦ>#SɧƯǐƖȪÑ̞#O7<OɹʁɃ;U*BȪCĵŗʐ˞
BƘ?RUÁǴ?Ī9:U-"-ɻʈ#Ȍ;ˬI:UR?ĵŗ#ÁǴ->"74&S"
BˆTCǹĈɃ¥ńB4N?ǻ+V4KK?>7:U(Ý»14 ̫ĵŗLjťÑ̞ɤ¦öšɧ
ƯǐƖ1995)
=BR>ˆT#U"»Zɒ-:!&<
džǛBlo‘p”;CK0
Ñ̞Z˼̞<
ǐ&ˆT#ƻʱ+VUUCĿ̹¶•B°XT?Ŀ̅¶•<ǐ4T
Ǎ°ƂȡB°XT?Ǎ°
ƛʿ<ǐ&>=;U
‹€˂?̑-:C24 ĊB°XT? 12 Ċ<ʻ-:UK4ɡ<ɡ;
ɎɈ-:U*<OT335 ”k;CwwBʅʾ#¦ɂƽȪ574<->#S246 ”k;
Cɂ¦öȪ574<ǐ:U
1)
lo‘p”ȶ˄Bĥ
Jean-Jacques Origas, « Orientations du roman contemporain, 1955-1987 », in Patrick de Vos, dir., Littérature japonaise contemporaine, p. 62 -70.DZB
ǀȱ?OÙ̊+V:U͂L'état du Japon, p.214-215.
3)
J.-J. Origas CĵŗLjťŽ_sƓʻ (1971)̅̐ł̣ŦBȵ(1971)Ĩˑ̝̹Ǻ̢(1976)ŚŒƸ̝ǺBæ(1960
ŁÑȪC 1977)?ʹÿ-:U
4)
ĵŗLjťCDZB¦8Bʐ´?̑/Uɐɟ?ʹÿ-:U#*VSCÕ?ǽˢǀľɃɐɟ;UŜŸŃʐ´Bǀľ n”<
lo‘p”
ŘȊDŽǐ1979. ʯŜ̍ķʐ´<ŎˇB̐—]‘Œ“Œ‰‹”Bȶȕ?!(U J. =J. n”Bę̯ZN'
7:lo‘p”ɐɟɁȀɓ1986. Ɨā.
5)
‹‘“{uC1980 Ŧ 3 ǒ 19-21 dž?…‹y;̏É+V4lo‘p”ģ̛gre;ˌȟ/U£Ń;74*BˌȟȷB
sdluC/;?ĽĤ-:4#{u#¨&>74<$o_€‹_o”?CƫƾBȘǐüɝ#̿ƥKV:̀ǻ+V:4
2V3VCČŦɗBTel Quel˂?Ƭˣ+V4̿—ĺ˿ǔʾ
L/01981 Ŧ 5 ǒĊ̀
2)
17
11