The Developments of Maruyama Kaoru's <i>Bussho-ishi</i> (poems of the inorganic) in the Contexts of His Time

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  • 丸山薫「物象詩」の展開
  • 丸山薫「物象詩」の展開 : 同時代を貫くもの
  • マルヤマ カオル 「 ブッショウシ 」 ノ テンカイ : ドウ ジダイ オ ツラヌク モノ
  • ――同時代を貫くもの――

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<p>Maruyama Kaoru is often regarded as a marginal poet among the members of the journal Shiki (Four Seasons), even though he was on its editorial board with Hori Tatsuo and Miyoshi Tatsuji from pre-World War Ⅱ period until the wartime. However, his keen sensibilities to the inorganic, manifested in his science fictions with cosmic visions, his interest in surrealistic “objets,” and his obsession that anticipates later “factory fetisism,” would place him in the broader contemporary contexts of the poetic history that is not limited to that of the poems and make him a nexus in the developments of poetic expressions in the pre-World War Ⅱ and post-World War Ⅱ eras. This essay clarifies these so far neglected aspects of his significance, focusing on the contemporaneity and influence he shared with such poets as Inagaki Taruho, Hagiwara Sakutarou, Tachihara Michizou, Nakahara Chuya, and surrealists like Ono Tozaburou, Takiguchi Shuzo and Yamanaka Chiruu, who are generally regarded to be the precursors of the poems of inorganic landscapes.</p>

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