Home | E-Submission | Sitemap | Contact Us |  
top_img
The Journal of Japanese Language Literature Studies > Volume 18(1); 2024 > Article
Border Crossings: The Journal of Japanese-Language Literature Studies 2024;18(1): 65-79.
doi: https://doi.org/10.22628/bcjjl.2024.18.1.65
Further Discussion on the Image of “Zhu Ke” in Mori Ōgai’s Kantō Nichijō in Connection with Ozaki Yukio’s Taikyo Nichiroku
Xiaoxia LIU
PhD student, School of Foreign Languages and Literature, Beijing Normal University/Assistant dean of Foreign Languages Department of Sichuan University of Science&Engineering
森鴎外の『 還東日乗』 における「逐客」形象の再論 ―― 尾崎行雄の
劉小霞
北京師範大学外国言語文学学院博士後期課程/四川軽化工大学外国語学院助教
Published online: 30 June 2024.
Copyright ©2024 The Global Institute for Japanese Studies, Korea University
This is an open access article distributed under the terms of the Creative Commons Attribution Non-Commercial License ( http://creativecommons.org/licenses/by-nc/4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
ABSTRACT
The four Chinese poems written by Mori Ōgai to Ozaki Yukio in Kantō Nichijō follow the typical poetic structure of “opening, developing, transition and concluding”. The poem “Xiao Quan” serves as a connecting link between the preceding and the following in terms of poetic meaning. Ōgai used the metaphor of “Xiao Quan” to insinuate the Meiji government at that time, while distancing himself from the political pursuit of radical liberal rights advocates embodied in the word of “Huai”. In Kantō Nichijō and Taikyo Nichiroku, it can be seen that as a member of the government bureaucracy, the misalignment between the reality of his identity position and his inner reflection produces an ideology of “Zhu Ke” in the political sense. And the image of “Zhu Ke” is not the color of “Brave man” or “Hero” in Taikyo Nichiroku, nor does it go towards the extreme image of passivity or resistance. But on the basis of resonating with the politically excluded literati genealogy in the context of Chinese poetry, it is a contradictory image that not only criticizes the policies of the Meiji government, but also is detached from the antigovernment political stance.
Keywords: Kantō Nichijō, Taikyo Nichiroku, Xiao Quan, Huai, The Image of “Zhu Ke”

キ―ワ―ド: 『還東日乗』, 『退去日録』, 小犬, , 『逐客』形象
TOOLS
PDF Links  PDF Links
Full text via DOI  Full text via DOI
Download Citation  Download Citation
  Print
Share:      
METRICS
0
Crossref
573
View
8
Download
Related article
The publisher and Editorial office
Global Institute for Japanese Studies, Korea University
Chungsan MK Culture Center, Inchon-ro 108, Seongbuk-gu, Seoul, 136-075, Korea
TEL: +82-2-3290-2592    FAX: +82-2-3290-2538   E-mail: bcrossing.edit@gmail.com
About |  Browse Articles |  Current Issue |  For Authors and Reviewers
Copyright © 2024 Global Institute for Japanese Studies, Korea University.                 Developed in M2PI
Close layer
prev next