지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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On April 12, 1937, the Tokyo Daily News featured a preview of Ryosyu, a new serial novel written by Yokomitsu Riichi and illustrated by Foujita Tsuguharu. They shared many similarities in their life. Their publishing careers began in the avant-garde era that occurred around the time of the First World War. By the mid 1930s, they were both recognized as major creative forces with note-worthy works. Yokomitsu aimed at producing popular fictions as well as pure literature, while Foujita was a muralist, print artist as well as painter. Both artists primarily selected mass media such as women’s magazine as a venue to showcase their works. When the war broke out, it brought them similar opportunities and misfortunes, as their opportunistic and cooperative attitudes regarding the war were harshly condemned by the post-war literary and artistic circles.
However, while the careers of Yokomitsu and Foujita followed a similar path in many aspects, their reputation in Japan differed in their origins. Foujita, who achieved success in the West by using Japan as his subject matter, returned to Japan for recognition and success in Japan. Meanwhile, Yokomitsu, who had succeeded in Japan by using the West as his literary material, returned to Japan from Europe with a skeptical view and complex of the West. In other words, Yokomitsu’s return to Japan was paradoxically inspired by his view of the West. This study investigates the paths and patterns of these two artists and their return to Japan.
However, while the careers of Yokomitsu and Foujita followed a similar path in many aspects, their reputation in Japan differed in their origins. Foujita, who achieved success in the West by using Japan as his subject matter, returned to Japan for recognition and success in Japan. Meanwhile, Yokomitsu, who had succeeded in Japan by using the West as his literary material, returned to Japan from Europe with a skeptical view and complex of the West. In other words, Yokomitsu’s return to Japan was paradoxically inspired by his view of the West. This study investigates the paths and patterns of these two artists and their return to Japan.
목차
서론
제1장 신진예술가로서의 출발-에콜 드 파리 그리고 신감각파
제2장 중견작가로서의 성공－세계의 후지타 그리고 문학의신 요코미쓰
제3장 전시기 미술과 문학
제4장 패전 이후의 길
결론
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UCI(KEPA) : I410-ECN-0101-2015-910-001121957