Departmental Bulletin Paper 作家由起しげ子の輪郭-神戸女学院所蔵「由起しげ子文庫」資料より-

藏中, さやか  ,  Sayaka, KURANAKA

本稿は、2016年3月におおよその整理がついた本学図書館所蔵「由起しげ子文庫」の資料紹介に主眼を置きつつ、作家由起しげ子 (1900-1969) の執筆活動について複数の視点から述べたものである。「文庫」資料を検討することで、従来の解説や年譜類に記されてきた事柄の詳細や新たに浮き彫りになる事実があることを示した。まず、1949年芥川賞受賞後翌年の発言を載せる対談資料から、当時の由起に対する人物評を再確認するとともに、由起自身の教養観や結婚観等を紹介した。続いて、初期長編作品の執筆順に言及し、また同時期までの童話を中心とする原稿類から、編集者八木岡英治の関わりを具体的に示した。さらに表題や作中人物名の推敲の痕跡を示し作家としての拘りの所在について触れた。日記、雑記帳類からは個々の作品に繋がる記載を拾い上げ、事実を備忘録的に書き留めたそれらの記載がそのまま作品構想メモにもなっていること等を記載毎に意義づけた。最後に、原節子主演『女ごころ』(1959年2月公開、東宝)の原作小説である「試験別居」と「文庫」資料中の2種の脚本を取り上げ、日記の記述を基に考察を加えながら、文学作品が映像化される過程を辿り、作品の単行本化と映画公開に見える相互関係を明らかにした。以上、従来、1955年ころから多く発表した中間小説が強く印象づけられてきた作家由起しげ子の一面を、活動初期を中心に見直し、新たな資料によって立体的に捉えたのが本稿である。作家の草稿を用いた研究の一事例でもある。
In this manuscript, I mainly focus on an introduction of the documents in Yuki Shigeko Collections of Kobe College Library. which was roughly organized in March 2016, while writing activities of the author Yuki Shigeko (1900-1969) has been described from several different view-points. Some documents of the Collections were investigated to show the details and newly discovered facts relative to previous explanations and works described in the chronological records. First, I re-confirmed the personal criticism of her by examining documents on her interview after she received the Akutagawa prize in 1949, and introduced her views on culture and marriage. Subsequently, the involvements of the editor YAGIOKA Eiji was indicated based on the manuscripts, fairy stories, in particular, up to the same time, and I discuss the presence of her persistence as an author by showing traces of elaboration of the titles and names of characters. Having identified the descriptions in diaries and notebooks, which are connected to her individual work, I attempted to make significance of her notes on work ideas that were derived from descriptions on the facts noted like on a memorandum book for each description. Finally, I focused on 2 scenarios of 'Shiken Bekkyo' , which is the original novel for 'On-na Gokoro' (HARA Setsuko as a main actress, February 1959, Toho Production) and another one in library materials, and clarified the relationship of the scripts and the original book, which was accompanied with a discussion from descriptions in a diary, and I traced the processes of the film adaptation of the literature. Overall, with the new documents, in this present paper I was able to recognize new aspects of the author YUKI Shigeko, who had so far been strongly characterized by her many novels published in the mid 1950s, by re-examining chiefly work from the early years of her writing career.

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