아쿠타가와 류노스케(芥川龍之介) 문학과

Abstract

A Study of Akutagawa Ryunosuke’s Works and Painting Techniques on the Expressions

Noh young sook

Department of Japanese Language and Literature, The Graduate School. Pukyong National University

Abstract The study was motivated by sheer curiosity: How would Akutagawa Ryunosuke(1892～1927)’s artistic sense evident in earlier works materialize in later novels written shortly before his tragic death? This intriguing question is addressed in the six chapters of this study. Chapter 1 observes Akutagawa's private novels and the background of later works. Chapter 2 deals with Akutagawa’s poetic spirit. Chapter 3 is devoted to Akutagawa's painting-like techniques that help his feelings come to life in the form of images. Chapter 4 looks at six images called 󰡐A mental landscape󰡑by the painting-like techniques in The Daidoji shinskeno hansei(Half of Shinske's Life at Daidoji Temple, 1925), while Chapter 5 observes the structure and two images of the painting-like techniques in The Mirage(1927). Chapter 6 analyzes Akutagawa's symbolic expressions, especially the colors in The Toothed Wheel(1927), and explains an image like a cubist picture It is impossible to understand Akutagawa’s thoughts and intentions without focusing on the symbolic expressions and private content that appear in his later works. This is so because, unlike his earlier works that are based primarily on history, his later works embed his description of daily lives within a complex network of allegories. In this study, three of Akutagawa’s later works are analyzed: The Daidoji shinskeno hansei, The Mirage, and The Toothed Wheel. The three novels were chosen because they exhibit many instances of expressions that delicately disclose the author’s artistic sense. Though The Daidoji shinskeno hansei is an autobiographical novel in which Akutagawa reminisces about his own past, this particular work demonstrates his clever use of painting-like techniques that help feelings come to life in the form of images. The other two works are noteworthy as well, in that they take the form of an ideal private novel (i.e., a novel devoid of a good story) which Akutagawa himself confessed might be beyond his capabilities while they are structured with painting techniques. In this pair of works, Akutagawa depicts, almost monotonously, everyday lives as they are, presenting a deeper, multi-dimensional world of the mind within the monotony of mundane day-to-day life. This way, Akutagawa skillfully turns his mental world into a piece of art. One turning point for Akutagawa appears to be related to the then popular naturalism. He criticized the old-fashioned novelists who deviated from the mainstream of naturalism and were content with disclosing personal secrets in an exaggerated way. He lamented the rise of private novels by such novelists and yearned for the arrival of true, meaningful private novels. However, Akutagawa’s implication-rich poetic expressions were at odds with the then current tendency to describe things as they are, so he was criticized by other writers for intentionally hiding, rather than exposing himself. Akutagawa didn’t oppose naturalism, but stood against novels of distorted self-confession. He tried to uphold the mentality of realism harder than any other writer of his time. He endeavored to go beyond many ideologies, believing that seeking the truth must be at the heart of an artist. Faced with strong criticism from his peers, Akutagawa did his best to engineer unique composition and plot in his later works. As a result, his presentation appeals to the readership through temporal and spatial vividness and images of painting. The Daidoji shinskeno hansei is completed by using techniques like a post-impressionist painting which create an instant impression. The Mirage is completed by using techniques like a Paul Cézanne which begin to break the traditional perspective, searching for a substantial figure, and The Toothed Wheel is completed by using techniques like a Pablo Picasso which are advanced furthermore to break into many pieces of color in the dessin. Therefore, a high level of poetic spirit reveals itself in the multitude of painting-like expressions that demonstrate Akutagawa’s artistic dexterity.