The <i>Aura</i> of the Front Line in Literature and the Emergence of the Popular Culture:

DOI Web Site

Bibliographic Information

Other Title
  • 〈前線〉に授与される〈文学〉と大衆文化
  • 〈前線〉に授与される〈文学〉と大衆文化 : 昭和戦時下における〈文学リテラシー〉の機能拡張
  • 〈 ゼンセン 〉 ニ ジュヨ サレル 〈 ブンガク 〉 ト タイシュウ ブンカ : ショウワ センジカ ニ オケル 〈 ブンガク リテラシー 〉 ノ キノウ カクチョウ
  • ――昭和戦時下における〈文学リテラシー〉の機能拡張――
  • The Multiplication of the Functions of “the Literacy of Literature” during the War in the Showa Era

Search this article

Abstract

<p>In such serious literary journals as Shincho, popular culture became the focus of discussions after the Manchurian incident broke out, but the predominant literary discourse shifted its focus to the power of the front line's aura over the home front. The exchanges between the “returnee writers” like Hino Ashihei and Ueda Hiroshi and those who espoused “pure literature” continued and became a body of “war literature controversy.” It also contributed to creating the illusion of close ties between the front line and the home front. Furthermore, the ideal “literacy of literature” was paradoxically projected onto “the blank space” within the language of the “returnee writers.” We can observe here the historically significant process in which the war is invoked as the catalytic agent in the generation of literature. In the field of popular culture, journals such as Taishu Bungei (Popular Literature) featured narratives of war experience by Muneta Hiroshi and others, where dialogues between writers at the front line and the readers at the home front characterized the structures of their narrative discourse. The “literacy of literature” was set into motion in the stories that connect the front line and the home front in transcendental manners and in “imon” (visits to console the soldiers) discourse and representations.</p>

Journal

Keywords

Details 詳細情報について

Report a problem

Back to top