昭和作家の〈南洋行〉－中島敦と高見順を中心に

明治以降､日本は南進論に基づき南方に進出した｡日本中が南に目を向け始め､南方に対する関心が徐々に高まっていた｡多くの作家は南に発ち､南方に関する作品を書き､或いは実際に南方に行かず､想像やフィクションによって南方を背景として作品を描いた｡それ故､日本の南方文学における南方風貌は､多様な要素によって豊かな様相で描かれている｡高見順（1907-1965）と中島敦（1909-1942）は､二人ともその南方ブームの中､南洋へ旅立ち､南に関する作品を書いた作家である｡昭和16年､中島敦は当時日本に委任統治されたパラオへ旅に出た｡同年､高見順は蘭印へ旅立った｡南方に多大な憧憶を持っていた二人にとって､昭和16年の南洋行は二人の初めての南洋体験であった｡多くの類似点を持つ二人の作家がほぼ同じ時期に南洋へ旅立ったが､二人の作品における南洋には大きな差異が見られる｡本稿では､中島敦と高見順の南洋作品を取り上げ､二人の作品における南洋の様態や作家の見方を比較し､昭和時代の南方文学の様態を検証したい｡

關鍵字

南方；南洋体験；中島敦；高見順

並列摘要

The Southern Expansion Doctrine has been promoted in Japan since the Meiji Era. Under the influence of the Southern Expansion Doctrine, the domestic Japan started to switch the focus to the South and therefore paid more and more attention to the South. Many writers headed for the South to write works on the South or even if they didn't personally go to the South, the story backgrounds of their works were based on the South. As a result, the images of the South reflected in Japan's South Literature were presented in rich forms due to the various influential factors.Both Jyun Takami and Atsushi Nakajima are the writers who went to the South during this period and constructed the relevant works on the South. In the 16th year of the Showa Era, Nakajima went to Palau which was mandated by Japan by then. In the same year, Takami traveled to the Dutch East Indies. To both of them who fantasized about the South, the trip to the South in that year was the very first Southern experience. Despite the two writers having various similarities and traveling to the South at the same time, the image of the South presented in their respective works varied a lot. This paper will discuss the types of the South Literature in the Showa Era by focusing on the South Literature of the two writers, as well as comparing the different images of the South in their works and the writers' view toward the South.