“Tra realtà e finzione: la rivalutazione della narrativa premoderna nella critica letteraria Meiji”

Between Fiction and Reality: the Revaluation of Tokugawa Fiction in the Literary Essays of Meiji Writers Keywords: 1) Kyokutei Bakin; 2) gesaku; 3) Meiji period; 4) Tsubouchi Shoyo; 5) Koda Rohan; 6) Mori Ogai This paper investigates the fiction of Tokugawa writer Kyokutei Bakin (Style name of Takizawa Okikuni, 1767-1848) from the standpoint of the Meiji literary estabilishment. Bakin was a prolific writer whose works, de-spite their popular success, rapidly fell into the umbrella category of gesaku (lit. “divertissement”). In fact they were considered minor fiction by intellec-tuals until Bakin’s reputation began to be re-affirmed by some important mainstream authors of the Meiji period. The debate about the contents, style and overall value of the gesaku tradi-tion paralleled the contrast between reality and fiction in the original works of Meiji novelists who were active and became prominent in the field of lit-erary criticism at the turn of the century. Tsubouchi Shoyo’s considerations on Bakin’s fiction in his seminal essay Shosetsu shinzui (The Essence of the Novel, 1885-7) launched a critical debate about the value of Japanese and Chinese antiquity which led intellectuals of the time to reconsider the peculi-arities of Tokugawa fiction. This is increasingly evident in the efforts made by the “classicist” and exegete Koda Rohan (1867-1947), and the translator and novelist Mori Ogai (1862-1922), to put forward proposals for a new model for historical fiction based primarily on accurate historical documentation. It is interesting to focus on the shifting perspective of Meiji writers concerning the works of Bakin as they redefine the boundaries between Japan’s treasured literary legacy and the new trends emerging in the bundan around the end of the 19th century. ---- "事実と小説の間－明治期の文芸評論にみられる江戸戯作の再検討" ルカ・ミラシ 本稿では、逍遥・鴎外・露伴の文芸論や随筆をもとにして、この作家たちの江戸戯作に対する見方の展開を考察する。特に、彼らの文芸評論から重要な箇所を幾つかとりあげ、明治時代における曲亭（滝沢）馬琴の戯作への評価がどのように変わっていったかを示す。明治の新小説の理論家である逍遥の『小説神髄』における馬琴についての発言、これを受けて書かれた鴎外初期の評論『今の諸家の小説論を読みて』の中の日本古典の再検討がうかがわれる箇所、そして、歴史随筆とも言える『運命』（大正8年）にみられる幸田露伴の馬琴評を考える試みである。