Uchida Hyakken, the “Darkness” of the Blind, or the Representation of the Memory:

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Other Title
  • 内田百閒・盲目の〈闇〉と視覚性、あるいは記憶の表象
  • 内田百閒・盲目の<闇>と視覚性、あるいは記憶の表象 : 『春琴抄』から『柳検校の小閑』へ
  • ウチダ ヒャクケン ・ モウモク ノ<ヤミ>ト シカクセイ 、 アルイハ キオク ノ ヒョウショウ : 『 ハル キンショウ 』 カラ 『 ヤナギ ケンギョウ ノ ショウカン 』 エ
  • ――『春琴抄』から『柳検校の小閑』へ――
  • <i>Shunkinsho</i> and <i>Yanagi Kengyo No Shōkan</i>

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Abstract

<p>This essay illuminates the characteristics and the significance of the visions of the blind in Uchida Hyakken's novel Yanagi Kengyo No Shōkan (Yanagi Kengyo's Time to Spare, 1940) in comparison with Tanizaki Junichiro's novel Shunkinsho (1933). It will examine how the visual sensibilities of the blind are incorporated in the structure of the text of Yanagi Kengyo No Shōkan along with Uchida's sympathy with Tanizaki, his sense of rivalry, and the novel's idiosyncratic method of representing the memory as visions. It also reaches for new interpretations that are made possible by focusing on the visual sensibilities of the blind. It then will demonstrate how Uchida Hyakken and Miyagi Michio, the famous blind player of Koto (the Japanese harp) Uchida befriended, influenced each other's works and deepened their understanding of the sensibilities of the blind to such an extent neither could have attained without the other by examining the nature of their mutual influence and its effects on their essays and works.</p>

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