川端康成『伊豆の踊子』から松本清張『天城越え』へ

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  • From Kawabata Yasunari’s “Izu no Odoriko” To Matsumoto Seicho’s “Amagi-goe”
  • カワバタ ヤスナリ 『 イズ ノ オドリコ 』 カラ マツモト セイチョウ 『 アマギ コエ 』 エ

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This paper analyzes Kawabata Yasunari’s 1926 novel, The Izu Dancer (“Izu no Odoriko”) and Matsumoto Seicho’s 1959 novel, Beyond Amagi (“Amagi-goe”). Previous studies discussed the relations between two novels with a focus on the author. In contrast, I examine how “Amagi-goe”is created by imaginative powers of mystery novels. Firstly, I look at the problem from the relevant movie. It raises an issue that “Amagi-goe” is created by previous work. Secondly, I investigate which elements of the “Izu no Odoriko” are translated into the mystery novels. In this paper, I regard “Izu no Odoriko” as resources of detective stories, and research how to use resources. In fact, “Izu no Odoriko” has been used as resources of detective stories, movies, tourism, educations, and so on. “Amagi-goe” is composed of not only an imagination of an author but also plural elements. Thirdly, I place “Izu no Odoriko” or “Amagi-goe” in another context, “From Modern Japanese Literature to mystery novel”. In conclusion, it is revealed that “Izu no Odoriko obscured the tragic dancing girl, and “Amagi-goe” or other mystery novels bring to unknown issues.

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