䠘◊✲䝜䞊䝖䠚㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌 㻌㻌㻌㻌㻌 㻌 㻌 㻌 JAITS 䢢䢢ⴭྡ⩻ヂᐙ兟優儓儝儬ศᯒ兟ྍどᛶᴫᛕ䢢䯍ᮧୖ᫓ᶞ僑僥僱ྠ໬兟␗໬ㄽ僔㐍ᒎ䯍䢢䢢᫂▼䢢 ඖᏊ 䢳 䢳 䢢㸦 䢳 䢢 University of East Anglia 㸧James Hadley 2䠄 2 㻌 Nanjing Agricultural University䠅

The

domestication-foreignization

paradigm

oftranslator

visibility

originallyformulated by Lawrence Venuti has come to dominate much translation research.
However, much of the discussion relating to the use of this paradigm has historically
centred on the subjective nature of the terminology, or even the ideological
specificities of the American context in which Venuti produced the paradigm.
This article aims to demonstrate that a more fundamental issue with using thevisibility paradigm is a tendency to f ocus on textual analysis at the expense of broadersocial and contextual details. Using textual analysis to explore the translation work ofHaruki Murakami, arguably one of the most visible contemporary translators, thearticle demonstrates the often contr adictory results that can arise from extrapolatingtranslator visibility in this way. It advocates further analysis of celebrity translators’
work for the production of a more sophisticated paradigm of translator visibility,
appropriate for a greater number of contexts.
1. ࡣࡌࡵ࡟㻌 ⌧௦䛾⩻ヂ◊✲䛻䛚䛔䛶䚸䝻䞊䝺䞁䝇䞉 䞂䜵䝚䝔䜱䠄Lawrence Venuti䠅䛜ᐃ⩏䛧䛯䛂␗໬䛃(foreignization) 䛸䛂 ྠ໬䛃䠄domestication䠅䚸䛥䜙䛻䛂ྍどᛶ䛃 䠄visibility䠅 䛸䛔 䛖ᴫᛕ䛿㢖⦾䛻㆟ㄽ䛾ᑐ㇟䛸䛺䛳䛶䛝䛯䚹䞂䜵䝚䝔䜱䠄 Venuti, 1995, 5䠅䛿 䛂Under the regime of fluent
translating, the translator works to make his or her work ‘invisible’໬䛥䜜䛯䝔䜽䝇䝖䛜⩻ヂ⪅䜢䛄୙ྍど໬䛅䛥䛫䛶䛔䜛䠹䛃1䠷ὶᬸ䛺ᩥ❶䛷ྠ䛸䛔䛖≧ἣ䜢ᢈุ䛧䚸䝔䜽䝇䝖䜢㉳Ⅼᩥ໬䛻㏆䛵䛡䜛䛣䛸䛻䜘䛳䛶⩻ヂ⪅䛾Ꮡᅾ䜢ྍど໬ 䛥䛫䜛䛂␗໬䛃ⓗ䛺䝇䝖䝷䝔䝆䜢ᨭᣢ䛧䛶䛔䜛䚹
AKASHI Motoko & James HADLEY “Celebrity Translators, Textual Analysis, and the
Visibility Paradigm: How Haruki Murakami Can Advance Domestication -Foreignization
Thinking,” Interpreting and Translation Studies, No.14, 2014. Pages 183-201 . © by the Japan
Association for Interpreting and Translation Studies

183
183

䛄㏻ヂ⩻ヂ◊✲䛅ྕ  㻌 䞂䜵䝚䝔䜱䛾ᐃ⩏䛜⩻ヂ◊✲䛻Ⓩሙ䛩䜛⣙䠎ୡ⣖๓䛾ྂ඾䛸䜒䛔䛘䜛䝅䝳䝷䜲䜰䞊䝬䝝䞊
䠄Friedrich Schleiermacher䠅䠄1813, 47䠅䛾୍⠇䛻䛣䛾䠎ศἲⓗ䛺⫼ᬒ䛜䛩䛷䛻ㄽ㏙䛥䜜䛶䛔 䜛 䚹䛂 der Uebersezer läßt den Schriftsteller möglichst in Ruhe, und bewegt denLeser ihm entgegen; oder er läßt den Leser möglichst in Ruhe und bewegt den
Schriftsteller ihm entgegen 䠷ㄞ⪅䜢䛺䜛䜉䛟䛭䛾䜎䜎䛻䛧䛶䛚䛔䛶ཎస⪅䜢ㄞ⪅䛻㏆䛵䛡䜛䚸ᡈ䛔䛿ཎస⪅䜢䛺䜛䜉䛟䛭䛾䜎䜎䛻䛧䛶 䛚䛔䛶ㄞ⪅䜢ཎస⪅䛻㏆䛵䛡䜛䠹 䛃 2 䚹せ䛩䜛䛻䚸␗໬䜒ྠ໬䜒䚸⩻ヂつ⠊䛻ᇶ䛵䛔䛯ᴫᛕ䛷䛒䜛 䚹䝅䝳䝷䜲䜰䞊䝬䝝䞊䛜ඛ㥑䛡䚸ᚋ䛻䞂䜵䝚䝔䜱䛜ᐃ⩏䛧䛶䛔䜛␗໬ㄽ䛿䚸ྠ໬䛸䛔䛖⩻ヂ䝇䝖䝷䝔䝆䛜㑅ᢥ䛥䜜䜛ഴྥ䜈䛾཯Ⓨ䛸䛧䛶ᥦ♧䛥䜜䛯 䛸䛔 䛘䜛䚹䝅䝳䝷 䜲 䜰䞊䝬䝝 䞊 䛾⩻ヂ䝇 䝖䝷 䝔䝆䛿䚸 䜰䜴䜾 䝇䝖䞉 䝅䝳䝺 䞊䝀䝹䠄August Schlegel䠅䛺䛹䚸ᙜ᫬䛾䝻䝬䞁୺⩏䛾⩻ヂ⪅䛜ᥦ᱌䛧䛯つ⠊䛛䜙㊥㞳䜢⨨䛟䛣䛸䛜┠ⓗ䛷䛒䛳䛯 䠄Kittel and Poltermann, 2008: 416䠅䚹ྠᵝ䛻䚸䞂䜵䝚䝔䜱䛜␗໬䜢᥇⏝䛧䛯䛾䛿䚸ẕᅜ䜰䝯䝸䜹䛻䛚䛔䛶ᶆ‽䛸䛧䛶ᐜㄆ䛥䜜䛶䛝䛯ྠ໬䛻ᑐ䛩䜛✚ᴟⓗ䛺 ᢬ᢠ䠄resistance䠅䛸䛧䛶䛷䛒䜛䚹㻌 䛣䛾䞂䜵䝚䝔䜱䛾஧ศἲ䛿⩻ヂ⪅䛾ྍどᛶ䛻㛵㐃䛩䜛◊✲䛻኱䛝䛺ᙳ㡪䜢୚䛘䛶䛝䛯཯㠃䚸ᢈุ䜒䛥䜜䛶䛔䜛䚹౛䛘䜀䚸䝬䝸䜰䞉䝔䜱䝰䝏䝁䠄Maria Tymoczko 䠅䠄2007: 211䠅䛿䚸඲䛶䛾ྍどᛶ䛜䛣䛾༢⣧䛺䠎ศἲ䛷ᐃ⩏䛷䛝䜛䛸䛿ゝ䛘䛺䛔䛸ㄽド䛧䛶䛔䜛䚹䛣䛾䜘䛖䛻䚸ྍどᛶ䛻䛴䛔䛶୰ᚰⓗ䛺Ꮡᅾ䛸䛥䜜䛶䛔䜛䞂䜵䝚䝔䜱䛾◊✲⤖ᯝ䜢䚸䜰䞁䜾䝻䞉䜰䝯䝸䜹ᩥ໬ᅪ䛾እ䛷㐺⏝䛩䜛䛸ၥ㢟䛜⏕䛨䜛䛸䛔䛘䜛䚹᪥ᮏ䛾⩻ヂ◊✲䛻䛚䛔䛶䜒ࣦ࢙ࢾࢸ࢕ࡢᴫᛕࡢᩥ໬
ⓗ࡞≉␗ᛶࡣࠕ␗໬ⓗ⩻ヂࡣẸ᪘୰ᚰ୺⩏ࠊᩥ໬ⓗࢼࣝࢩࢩࢬ࣒ࠊᩥ໬ᖇᅜ୺⩏࡟ᑐࡍࡿࠗ᢬ᢠ࡛࠘࠶ࡿࠖ㸦㛗἟࣭Ỉ㔝࣭ᰗ∗ࠊ2010: 38-39㸧࡜ࡋࠊ᪥ᮏࡢᩥ⬦࡟ࡣ㐺ྜࡋ࡞࠸࡜ᢈุࡉࢀ࡚࠸ࡿࠋࡇࡢࡼ࠺࡟䞂䜵䝚䝔䜱䛾ᴫᛕ䛻ᑐ䛩䜛኱༙ࡢᢈุࡣࡇࡢᴫᛕ
ࡢⓎ⚈ᩥ໬ࡢ⫼ᬒࡲࡓࡣ␗໬࣭ྠ໬ࡢᐃ⩏ࡢ୺ほᛶ࡟㞟୰ࡍࡿഴྥ࡟࠶ࡿࠋ
ᮏ✏䛷䛿䚸䞂䜵䝚䝔䜱䛜ྠ໬䛸␗໬䛾ᴫᛕ䜢ᐃ⩏䛩䜛㝿䛻䚸⩻ヂ⪅䛾ྍどᛶ䛻ᙳ㡪 䛧䛖䜛䛥䜎䛦䜎䛺せ⣲䜢⪃៖䛫䛪䛻୺䛻䝔䜽䝇䝖ศᯒ䛻⤊ጞ䛧䛶䛔䜛Ⅼ䜢ྲྀ䜚ୖ䛢䚸䞂䜵䝚䝔䜱䛾ᴫᛕᐃ⩏䛻䜏䜙䜜䜛ၥ㢟䜢⪃ᐹ䛩䜛䚹䛭䛣䛷䚸㠀ᖖ䛻ྍど໬䛥䜜䛶䛔䜛⩻ヂ⪅䛚䜘䜃䛭䛾⩻ヂ⪅䛜ᡭ䛜䛡䛯⩻ヂ䝔䜽䝇䝖䛾ヲ⣽䛺䝔䜽䝇䝖ศᯒ䜢⾜䛔䚸䛣䛾䜘䛖䛺䠎ศἲ䛜⣮䜙䜟䛧䛔▩┪䛧䛯⤖ᯝ䜢⏕䜐䛣䛸䜢᳨ド䛧䛶䛔䛟䚹ศᯒ䛻䛿䚸ⴭྡ䛷䛒䜚䚸䛴䜎䜚ྍど໬䛥䜜䛶䛔䜛⩻ヂ⪅䛰䛸⪃䛘䜙䜜䜛ᮧୖ᫓ᶞ䜢㑅ᢥ䛧䛯䚹䛭䛾䛖䛘䛷䚸䝔䜽䝇䝖ศᯒ௨እ䛾せᅉ䛻↔Ⅼ䜢ᙜ䛶䜛䛣䛸䛻䜘䛳䛶䚸⩻ヂ⪅䛾ྍどᛶ䛾ᴫᛕ䛿䜘䜚ᗈ⠊ᅖ䛺ᩥ໬ᅪ䛷㐺⏝ྍ⬟䛻䛺䜚䛖䜛䛣䛸䜢ᒎᮃ䛩䜛䚹
2. ᮧୖ࡜ࡑࡢసရ㻌 ᮧୖ᫓ᶞ䛿 1949 ᖺ䛻ி㒔ᕷ䛷⏕䜎䜜䚸ᅜㄒᩍᖌ䛷䛒䜛୧ぶ䛾䜒䛸⚄ᡞ䛷⫱䛳䛯䚹䛂∗䛸ẕ䛜ᅜᩥᏛ䜢䜔䛳䛶䛔䛯䛛䜙䚸䛭䜜䛛䜙㏨䛢䛯䛟䛶እᅜᩥᏛ䜢ㄞ䜣䛰䛃䠄2013: 44䠅䛸䛔䛖ᮧୖ䛿䚸㧗ᰯ⏕䛾㡭䝺䜲䝰䞁䝗䞉䝏䝱䞁䝗䝷䞊䠄Raymond Chandler 䠅䚸䝻䝇䞉䝬䜽䝗䝘䝹䝗䠄Ross
Macdonald䠅䚸䜶䝗䞉䝬䜽䝧䜲䞁䠄Ed McBain䠅䛸䛔䛳䛯䜰䝯䝸䜹䛾䝝䞊䝗䝪䜲䝹䝗ᑠㄝ䛾ཎస䜢ㄞ䜏ጞ䜑䚸䜔䛜䛶䚸䝖䝹䞊䝬䞁䞉䜹䝫䞊䝔䜱䠄Truman Capote䠅䜔 F䞉䝇䝁䝑䝖䞉䝣䜱䝑䝒䝆䜵䝷䝹
184
184

ⴭྡ⩻ヂᐙ䞉䝔䜽䝇䝖ศᯒ䞉ྍどᛶᴫᛕ䝗䠄F.Scott Fitzgerald䠅䚸䛭䛧䛶䜹䞊䝖䞉䞂䜷䝛䜺䝑䝖䠄Kurt Vonnegut䠅䛾䜘䛖䛺⌧௦䜰䝯䝸䜹ᩥᏛ䛾௦⾲ⓗసᐙ䜈䛸 ⯆࿡䛿⛣䛳䛶䛔䛳䛯䚹ᮧୖ䛾ᑠㄝ䛻䛿䚸䛣䛖䛧䛯సᐙ㐩䛛䜙 ཷ䛡䛯ᙳ㡪䛜ぢཷ䛡䜙䜜䜛䜋䛹䛷䛒䜛 䠄Rubin, 2002: 16䠅䚹㻌 1979 ᖺ䛻䝕䝡䝳䞊స䛄㢼䛾ḷ䜢⫈䛡䛅䛷⩌ീ᪂ே㈹䜢ཷ㈹䛧䛶௨᮶䚸సᐙ䛸䛧䛶ⴭ䛧䛔ά㌍䜢㐙䛢䛶䛝䛯ᮧୖ䛾᭩䛟ᑠㄝ䛿ᅜෆእ䛻䛚䛔䛶ேẼ䛜⾶䛘䜛䛣䛸䛿䛺䛔䚹సᐙᮧୖ䛾᭱ึ䛾䝧䝇䝖䝉䝷䞊䛷䛒䜛䛄䝜䝹䜴䜵䜲䛾᳃䛅䠄1987䠅䛿㈍኎㒊ᩘ䛜㏻⟬ 1000 ୓㒊䜢㉸䛘䛶䛔䜛䛾䛻ຍ䛘䛶䚸᭱㏆䛾సရ䛷䜒䛄1Q84䛅䠄2009䠅䛜Ⓨ኎ᙜึ䛾▷ᮇ㛫䛻グ㘓ⓗ䛺኎䜚ୖ䛢䜢ぢ䛫䛶䛔䜛 (἟㔝, 2013: 129)䚹ᾏእ䛷䛿୺䛻ᑠㄝᐙ䛸䛧䛶▱䜙䜜䜛ᮧୖ䛾ᑠㄝ䛿 40 䞃ᅜㄒ௨ୖ䛻⩻ヂ䛥䜜䛶䛚䜚䠄἟㔝, 2013: 130, Seats, 2009: 26 䠅䚸≉䛻䜰䝯䝸䜹䛻䛚䛔䛶䛿䚸ᮧୖ䛜᪥ᮏே䛸䛧䛶᭱䜒ᡂຌ䛧䛯సᐙ䛷䛒䜛䛸ゝ䛳䛶䜒㐣ゝ䛷䛿䛺䛔 䠄Chan, 2009: 12䠅䚹ྠᵝ䛻䚸ᮧୖ䛾ᑠㄝ䛿䜰䝆䜰ᅪ䛷䜒⤯኱䛺ேẼ䜢㄂䛳䛶䛔䜛䚹1989 ᖺ䛻୰ᅜᮏᅵ䛷ึฟ∧䛥䜜䛯䛄䝜䝹䜴䜵䜲䛾᳃䛅䛿䚸2006 ᖺ䛾᫬Ⅼ䛷 140 ୓㒊䛾኎ୖ䛢䜢グ㘓䛧䚸୰ᅜㄒ䛻⩻ヂ䛥䜜䛯እᅜᩥᏛ䛷䛿ᐃ␒䛾䝧䝇䝖䝉䝷䞊䛸䛺䛳䛶䛔䜛 (ibid: 9)䚹䛥䜙䛻䚸㡑ᅜ䛷䛿ᮧୖ䛾䜋䛸䜣䛹䛾ᑠㄝ䛜⩻ヂฟ∧䛥䜜䛶䛚䜚䚸⩻ヂⅬᩘ䛸䛧䛶䛿䜰䝆䜰ᅪ䛷᭱ከ䛷䛒䜛 (ibid: 38)䚹௒䜔ᮧୖ᫓ᶞ䛿ୡ⏺ⓗ䛻᭱䜒ὀ┠䛥䜜䛶䛔䜛᪥ᮏேసᐙ䛸䛔䛘䜛䛰䜝䛖䚹㻌 ୍᪉䚸సᐙάື䛸ྠᵝ䛻⩻ヂᐙ䛸䛧䛶䛾άື䜒኱䛔䛻ὀ┠䛥䜜䛶䛚䜚䚸≉䛻ᮧୖヂ䛾䛄䜻䝱䝑䝏䝱䞊䞉䜲䞁䞉䝄䞉䝷䜲䛅䠄2006a䠅䚸䛄䜾䝺䞊䝖䞉䜼䝱䝒䝡䞊䛅䠄2006b䠅 䛿䝧䝇䝖䝉䝷䞊䛸䛺䜚䚸㏆ᖺ䛾᪂ヂ䝤䞊䝮䛾ⅆ௜䛡ᙺ䛸䜒⪃䛘䜙䜜䛶䛔䜛 䠄బ⸨䚸2009: 1䠅䚹䛣䛾䜘䛖䛻సᐙᮧୖ᫓
ᶞ䛜⩻ヂ䛧䛯ᮏ䛿᪥ᮏ䛷㧗䛔ホ౯䜢㞟䜑䛶䛚䜚䚸ᮧୖ䛿⩻ヂᐙ䛸䛧䛶䛾ྡኌ 䜢䜒☜❧䛧䛶䛔䜛䚹ᮧୖ䛿⌧௦䛾᪥ᮏ䛻䛚䛔䛶䚸䜎䛥䛻䚸ᩘᑡ䛺䛔䛂ⴭྡ⩻ヂᐙ䛃䛸࿧䜆䛻䜅䛥䜟䛧䛔 䠍ே䛷䛒䜛䚹㻌 ฟ∧ᴗ⏺䛾୙ἣ䛜䛖䛯䜟䜜䜛㏆ᖺ䚸᭩ᗑ䛷䛿ᾏእᩥᏛ䛾ᒎ㛤䜢⦰ᑠ䛩䜛ഴྥ䛻䛒䜚䚸ฟ∧♫䜒⩻ヂᩥᏛ䛾ฟ∧䛻䛿ᾘᴟⓗ䛷䛒䜛 䠄⏣୰䚸2013䠅䚹䛭䜣䛺⌧≧䛻䛚䛔䛶䚸௒䜔䝤䝷䞁䝗໬䛧䛯䛂ᮧୖ䛃䛾ヂ䛩ᾏእᩥᏛ䛜኎䜜䚸ヂ⪅䛾ྡ๓䛜ཎస⪅䜘䜚䜒኱䛝䛟ྲྀ䜚ୖ䛢䜙䜜䛶䛔䜛䠄㢼୸䚸2006: 52, ἟㔝䚸2013: 137䠅䚹䜎䛯䚸୍⯡ㄞ⪅ྥ䛡䛻ᮧୖ䛾ゎㄞᮏ䜒䛔䛟䛴䛛ฟ∧䛥䜜䜛䛺䛹䚸䛂ᮧୖ⏘ᴗ䛃䛸䜒䛔䛘䜛⌧㇟䛜㉳䛝䛶䛔䜛 䠄ᮧୖ, 2012: 367䠅䚹䛭䛾ᮧୖ⏘ᴗ䜢ᡓ␎䛸䛧䛶䚸ⴠ䛱㎸䜣䛰ฟ∧ᕷሙ䛻άẼ䜢䜒䛯䜙䛧䛶䛔䜛ฟ∧♫䛜䛄䜻䝱䝑䝏䝱䞊 䞉䜲䞁䞉䝄䞉䝷䜲䛅䛷䝧䝇䝖䝉䝷䞊䜢ฟ䛧䛶䛔䜛ⓑỈ♫䚸䛄䜾䝺䞊䝖䞉䜼䝱䝒䝡䞊䛅䜢ฟ∧䛧䛶䛔䜛୰ኸබㄽ᪂♫䛺䛹䛷䛒䜛䚹≉䛻ᚋ⪅䛿䛂ᮧୖ᫓ᶞ⩻ヂ䝷䜲䝤䝷䝸䞊䛃䛸⛠䛧䛯ᮧୖ䛾⩻ヂ䛻䜘䜛ᾏእᩥᏛ䝅䝸䞊䝈䜒ฟ∧䛧䛶䛔䜛䚹27 ᕳ䛛䜙䛺䜛䛣䛾䝅䝸䞊䝈䛷䛿 F䞉䝇䝁䝑䝖䞉䝣䜱䝑䝒䝆䜵䝷䝹䝗䚸䝺䜲䝰䞁䝗䞉䜹䞊䞂䜯䞊䠄Raymond Carver䠅䚸䝫䞊䝹䞉䝉䝻䞊䠄Paul Theroux䠅䚸䝆䝵䞁䞉䜰䞊䞂䜱䞁䜾䠄John Irving䠅䚸䝬䞊䜽䞉䝇䝖䝷䞁䝗䠄Mark Strand䠅䚸䛭䛧䛶 C䞉D䞉B䞉䝤䝷䜲䜰䞁䠄C.D.B
Brian䠅䛺䛹䚸ᮧୖ䛾୺䛺⩻ヂసရ䛜⥙⨶䛥䜜䛶䛔䜛䚹㻌 ୖグ䛾䜻䝱䝸䜰䛻╔┠䛩䜛䛸䚸ᮧୖ䛿ᑠㄝ䛾ᇳ➹䜘䜚䜒⩻ヂ䛻䛛䛺䜚䛾᫬㛫䜢๭䛔䛶䛝䛯䛸䛔䛖ぢ᪉䜒䛷䛝䜛䠄ෆ⏣䞉㒔⏥䞉἟㔝䚸2010: 179䠅䚹䛸䛔䛖䛾䜒䚸1979 ᖺ䛾䝕䝡䝳䞊䛛䜙 2003ᖺ䛾㛫䛻ห⾜䛥䜜䛯ᑠㄝ䛾ᩘ䛜 22 సရ䛺䛾䛻ᑐ䛧䛶䚸⩻ヂ᭩䛸䛧䛶ห⾜䛥䜜䛯ᩘ䛿䛭䛾䜋䜌ಸ䛻䛒䛯䜛 40 సရ䛷䛒䜛䛛䜙䛷䛒䜛䚹䛥䜙䛻䚸ᮧୖ䛜⩻ヂ䜢⾜䛖㐣⛬䛻䛿⊂≉䛺䜒䛾䛜
185
185

䛄㏻ヂ⩻ヂ◊✲䛅ྕ  䛒䜚䠄Miura, 2003: 24䠅䚸䛭䛣䛛䜙⏕䜎䜜䜛ゎ㔘䛾≉㉁ᛶ䛿㆟ㄽ䜢ᣍ䛟ഴྥ䛻䛒䜛䚹䛣䛾≉㉁ᛶ䛻䛴䛔䛶䛿䚸ᚋ䛾❶䛷⪃ᐹ䛩䜛䚹
3. ㄞ⪅ᐤࡾᮧୖ䛿䚸⩻ヂཬ䜃ᑠㄝᇳ➹䛾཮᪉䛾㐣⛬䛻䛚䛔䛶᭱䜒㔜せ䛺䛾䛿ᩥ❶䛾䝸䝈䝮䛷䛒䜛䛸㏙䜉䛶䛔䜛䠄ᮧୖ䞉ᰘ⏣䚸2000: 66䠅䚹䛣䛾୧᪉䛾సᴗ䛻ඹ㏻䛧䛯䝇䝖䝷䝔䝆䛛䜙䜒䜟䛛䜛䜘䛖䛻䚸ᮧୖ䛻䛸䛳䛶ᑠㄝ䜢᭩䛟䛣䛸䛸⩻ヂ䜢䛩䜛䛣䛸䛿ษ䜚㞳䛩䛣䛸䛾䛷䛝䛺䛔సᴗ䛷䛒䜛䛸䛔䛘䜛䚹䛴䜎䜚䚸ᮧୖ䛿⩻ヂ䜢๪ᴗ䛸䛩䜛సᐙ䛷䜒䛺䛡䜜䜀䛭䛾㏫䛷䜒䛺䛔䛸䛔䛖䛣䛸䛷䛒䜛䚹൅䛿ᛮ䛖䜣䛰䛡䛹䚸๰స䛾ᩥ❶䛻䛫䜘 䚸⩻ヂ䛾ᩥ❶䛻䛫䜘 䚸ᩥ❶䛻䛸䛳䛶୍␒኱஦䛺䛾䛿䚸䛯䜆䜣䝸䝈䝮䛺䜣䛷䛩䜘䛽䚹൅䛜㐣ཤᙧ䛸⌧ᅾᙧ䜢䛒䜛⛬ᗘΰᅾ䛥䛫䜛䛸䛔䛖䛾䜒䚸䛒䛟䜎䛷䝸䝈䝮䜢స䛳䛶䛔 䛟䛯䜑䛷䛩䚹ཎᩥ䛷䛿 䜂䛸䛴䛾ᩥ❶䜢஧䛴䛻ศ䛡䛯䜚䚸ཎᩥ䛷䛿஧䛴䛾ᩥ❶䜢 䜂䛸䛴䛻䜎䛸䜑䛯䜚䛩䜛䛾䜒䚸䛴䜎䜛䛸䛣䜝䝸䝈䝮䛾䛯䜑䛷䛩䚹䠄ᮧୖ䞉ᰘ⏣䚸2000: 66䠅㻌 ㄞ᭩䛿ᴦ䛧䜑䛺䛡䜜䜀ព࿡䛜↓䛔䛸䛔䛖ᮧୖ䛾ಙᛕ䛿䚸䛣䛾䝸䝈䝮䛻䜘䛳䛶䛂ே䛾ㄞ䜐ᩥ❶䛃䠄ᮧୖ, ᰘ⏣, 2000: 66䠅䜢స䜛䛣䛸䛻↔Ⅼ䜢ᙜ䛶䛯䝇䝖䝷䝔䝆䛻⾲䜜䛶䛔䜛 䚹≉䛻䚸ᮧୖ䛾ὶᬸ䛻ㄞ䜑 䜛ᩥ ❶ 䛻㛵 䛧䛶䛿ㄞ⪅ 䜔ᢈ ホᐙ䛾㛫䛷䜘 䛟ヰ 㢟䛻䛥 䜜䛶䛚䜚䚸 ⸨ᮏ 䠄2006:
136䠅䛿䚸䛄䜻䝱䝑䝏䝱䞊䞉䜲䞁䞉䝄䞉䝷䜲䛅䛾⌧௦ⓗ䛷䝇䝮䞊䝈䛺᪥ᮏㄒ䛻ᑐ䛧䚸䛂ཎᩥ䛾Ꮡᅾ䜢ᛀ䜜䛥䛫䜛䚹ᮧୖ䛾䜸䝸䝆䝘䝹సရ䛸䛧䛶ㄞ䜏㐍䜐䛣䛸䜒ྍ⬟䛷䛒䜛䛃䛸㏙䜉䛶䛔䜛䚹㻌 ୖグ䛾ᘬ⏝䛷䜒♧䛥䜜䛶䛔䜛䜘䛖䛻䚸ᮧୖ䛾⩻ヂ䝇䝖䝷䝔䝆䛷䛿ཎᩥ䛻┦ᙜ䛩䜛⩻ヂ䛸䛧䛶䛸䛔䛖䜘䜚䜒䚸⩻ヂ䛭䛾䜒䛾䛻䛴䛔䛶↔Ⅼ䛜ᙜ䛶䜙䜜䛶䛔䜛䚹 䛧䛯䛜䛳䛶䚸ᮧୖ䛾䝇䝖䝷䝔䝆䛿ὶᬸ䛺⩻ヂ䜢┠ᣦ䛩䜒䛾䛷䛒䜚䚸ㄞ⪅䛛䜙 ཎᩥ䛸ヂᩥ䛸䛜ྠ➼ど䛥䜜䜛䛣䛸䜢ពᅗ䛧䛶䛔䜛ヂ䛷䛿䛺䛔䛸ゝ䛘䜛䛰䜝䛖䚹䛥䜙䛻䛔䛘䜀䚸ᚑ᮶䛾䛂␗໬䞉ྠ໬䛃ㄽ䛷䛿⩻ヂ䛜ཎᩥ䛾௦⌮䛸䛔䛖๓ᥦ䛾ୖ䛻㆟ㄽ䛥䜜䛶䛝䛯䛜䚸ᮧୖ䛾䝇䝖䝷䝔䝆䛿ཎᩥ䛾௦⌮䛸䛧䛶䛾⩻ヂ䜢┠ᣦ䛩䛸䛔䛖๓ᥦ䛻❧䛯䛺䛔䛯䜑䚸ᚑ᮶䛾䛂␗໬䞉ྠ໬䛃ㄽ䛾⠊ᅖ䛛䜙䛿እ䜜䜛䛣䛸䛻䛺䜛䛸⪃䛘䜙䜜䜛䚹䛻䜒䛛䛛䜟䜙䛪䚸ㄞ⪅䛿ㄞ䜣䛷䛔䜛䝔䜽䝇䝖䛜ᮧୖ䛜ᡭ䛜䛡䛯⩻ヂ䝔䜽䝇䝖䛰䛸䛔䛖䛣䛸䜢ㄆ㆑䛩䜛䚹䛣䛾䛣䛸䛜ᮧୖ䛾䝇䝖䝷䝔䝆䛾⊂⮬ᛶ䛻䜋䛛䛺䜙䛺䛔䚹㻌 ᪥ᮏ䛾⩻ヂྐ䜢䜏䜛䛸䚸᫂἞᫬௦௨㝆䚸すὒ䛾▱㆑䜔ᩥ໬䜢㍺ධ䛩䜛䛯䜑䛾ᡭẁ䛷䛒䛳䛯⩻ヂ䛿୺䛻Ꮫ⪅䛻䜘䛳䛶⾜䜟䜜䛶䛝䛯䠄Wakabayashi, 2009: 2-3䠅䚹䛣䛾䜘䛖䛺⩻ヂ䛿䜽䜴䜵䜲䝮䞉䜰䝑䝢䜰䠄Kwame Appiah䠅䛜‘Thick Translation’䠄1993/2004䠅䛷䜒㏙䜉䛶䛔䜛䜘䛖䛻䚸༢䛻ཎᩥ䛾ព࿡䜢཯ᫎ䛩䜛䛾䛷䛿䛺䛟䚸⩻ヂ䜢⾜䛖䛣䛸䛻䜘䛳䛶ཎᩥ䜢⣽䛛䛻ゎ㔘䛧䛯䜒䛾䛷䚸ㄞ䜐䛣䛸䛿㞴ゎ䛷䛒䛳䛯䛯䜑䚸䝔䜽䝇䝖䛜⩻ヂ䛷䛒䜛䛸䛔䛖䛣䛸䛿⮬᫂䛷䛒䛳䛯䚹᪥ᮏ䛻䛚䛡䜛ྍど໬ⓗ䛺⩻ヂ䛾Ṕྐ䛸䛧䛶䛿䛣䛾䜘䛖䛺䜒䛾䛷䛒䛳䛯䛾䛰䛜䚸᭱㏆䛾᪥ᮏ䛾ฟ∧ᴗ⏺
䛷䛿䚸䛂ㄞ⪅ᐤ䜚䛃䛾䜰䝥䝻䞊䝏䛜୺ὶ䛸䛺䛳䛶䛝䛶䛚䜚䚸ㄞ䜏䜔䛩䛔⩻ヂ䛜ዲ䜎䜜䜛ഴྥ䛻
䛒䜛䠄Sato, 2009: 16䠅䚹䛣䛾䜘䛖䛺᫬ὶ䛜ᮧୖ䛾ὶᬸ䛺⩻ヂ䛻཯ᫎ䛥䜜䛶䛔䜛䛸䛔䛘䜛䚹㻌 ㄞ 䜏 䜔 䛩 䛔 ᪥ ᮏ ㄒ 䜢 㔜 ど 䛩 䜛 ฟ ∧ ᴗ ⏺ 䛻 䛚 䛡 䜛 つ ⠊ 䛿 䚸 ᫂ 䜙 䛛 䛻 䞂 䜵 䝚 䝔 䜱 䠄Venuti,186186ⴭྡ⩻ヂᐙ䞉䝔䜽䝇䝖ศᯒ䞉ྍどᛶᴫᛕ

2004: 15, 117䠅䛜ヲ㏙䛧䛶䛔䜛䜰䞁䜾䝻䞉䜰䝯䝸䜹ᩥ໬ᅪ䛾⩻ヂつ⠊䛻㏆䛔䚹㏆ᖺ䛾⩻ヂ◊✲䛻䛚䛔䛶䚸䛣䛾つ⠊䛜ཬ䜌䛧䛶䛔䜛䜰䞁䜾䝻䞉䜰䝯䝸䜹ᩥ໬ᅪ 䛾ฟ∧ᴗ⏺䛾ᐇ᝟䜔䚸⩻ヂ⪅䛾⩻ヂసᴗ ඲⯡䛻䛴䛔䛶䛿㆟ㄽ䛥䜜䛶䛝 䛯䛜䚸⌧ᅾ䛷䜒䛺䛚䞂䜵䝚 䝔䜱䛾ᐃ⩏䛩䜛䛂 ␗໬䞉ྠ໬䛃ㄽ䛻䛚䛔䛶䚸ὶᬸ䛥䜢㔜ど䛩䜛つ⠊䛸䛭䜜䛻䜘䜛⩻ヂ⪅䜈䛾ᙳ㡪䛸䛾㛵ಀ 䛿䛝䜟䜑䛶㔜せ䛰䛸ぢ䜙䜜䛶䛔䜛䚹䛧䛛䛧䚸䜰䞁䜾䝻䞉䜰䝯䝸䜹ᩥ໬ᅪ䛾⩻ヂฟ∧ᴗ⏺䛸䚸᪥ᮏ䛾⩻ヂฟ∧ᴗ⏺䛾㛫䛻䛿ከ䛟䛾┦㐪Ⅼ䛜ぢ䜙䜜䜛䚹᭱䜒㢧ⴭ䛺┦㐪Ⅼ䛿䚸᪥ᮏ䛷䛿⩻ヂ⪅䛾Ꮡᅾ䜢ㄆ㆑䛧䛺䛔䚸䜒䛧䛟䛿㍍ど䛩䜛䛸䛔䛖ഴྥ䛜ぢ䜙䜜䛺䛔䛸䛔䛖䛣䛸䛷䛒䜛䚹䛣䛾䛣䛸䛿ᮧୖ䛾⩻ヂ䜢⪃ᐹ䛩䜛ୖ䛷䜒㔜せ䛷䛒䜛䚹䜎䛯䚸⩻ヂ⪅䛾ྍどᛶ 䛸䛔䛖ほⅬ䛛䜙᪥ᮏ䛾⩻ヂฟ∧ᴗ⏺䜢ぢ䜛䛸䚸୙ྍど໬䛥䜜䛶䛔䜛౛䛛䜙䚸ᮧୖ䛾䜘䛖䛻ⴭྡ䛷ྍど໬䛥䜜䛶䛔䜛౛䜎䛷䚸䛥䜎䛦䜎䛺⩻ヂ⪅䛜Ꮡᅾ䛧䛶䛔䜛䛣䛸䛜䜟䛛䜛䚹䞂䜵䝚䝔䜱䛿䝔䜽䝇䝖సᡂ㐣⛬䛻䛚䛡䜛⩻ヂ⪅䛾㈉⊩䜢ㄆ㆑䛧䛺䛔䛸䛔䛖୍⯡ⓗ䛺 ഴྥ䛻䛴 䛔 䛶 䚸 䛂The more fluent the translation, the more invisible the translator, and,presumably, the more visible the writer or meaning of the foreign text 䠷⩻ヂ䛜ὶᬸ䛷䛒䜜䜀䛒䜛䜋䛹⩻ヂ⪅䛿୙ྍど໬䛥䜜䜛䛸ྠ᫬䛻䚸ཎస⪅䚸ཪ䛿ཎᩥ䛾ព࿡䛜ྍど໬䛥䜜䜛 䛷 䛒 䜝 䛖 䠹 䛃 䠄Venuti, 2004: 2-3䠅 3 䛸 ㏙ 䜉 䛶 䛔 䜛 䚹 䛭 䛧 䛶 䚸 䛂Foreignizing translation
signifies the difference of the foreign text, yet only by disrupting the cultural codesthat prevail in the target language 䠷␗໬ⓗ⩻ヂ䛿䚸┠ᶆゝㄒ䛾ᩥ໬ⓗつ⠊䜢◚䜛䛣䛸䛻䜘䛳䛶䝔䜽䝇䝖䛜␗ᩥ໬䛾䜒䛾䛷䛒䜛䛸䛔䛖䛣䛸䜢♧䛩䜒䛾䛷䛒䜛䠹䛃 䠄Venuti, 2004: 20䠅 4 䛸䛧䚸␗໬ⓗ⩻ヂ䛜䛣䛾䜘䛖䛺ഴྥ䛻ᑐ䛩䜛᭱䜒㔜せ䛺᢬ᢠ䝇䝖䝷䝔䝆䛷䛒䜛䛸㏙䜉䛶䛔䜛䚹䛴䜎䜚䚸䛣䛾ᴫᛕ䛿䚸ヂᩥ䛜ὶᬸ䛷䛒䜛䛛ྰ䛛䛸䛔䛖ㄞ⪅䛻䜘䜛ุ᩿䛻᏶඲䛻౫Ꮡ䛧䛶䛔䜛䛸䛔䛖䛣䛸䛰䚹䛧䛯䛜䛳䛶䚸䞂䜵䝚䝔䜱䛾ᴫᛕ䛿⣽䛛䛔䝔䜽䝇䝖ศᯒ䜢వ൤䛺䛟䛥䛫䜛䛸ྠ᫬䛻䚸䛣䛾ศᯒ⤖ᯝ䜢䜋䛛䛾䛹䛾せ⣲䜘䜚䜒ඃඛ䛩䜛䛾䛷䛒䜛䚹௬䛻䛣䛾䜘䛖䛺ጼໃ䛻ಙ㢗ᛶ䛜䛒 䜛䛸䛧䛶䚸ᮧୖ䛾సရ䛾ศᯒ⤖ᯝ䜢ゎ㔘䛩䜛䛾䛻⏝䛔䛯 䛸䛧䜘䛖䚹䛣䛾ሙྜ䚸ᮧୖ䛾⩻ヂ䝇䝖䝷䝔䝆䛜᏶඲䛻ὶᬸ䛥䜢⪃៖䛧䛯䜒䛾䛷䛿䛺䛔䛸䛔䛖⤖ᯝ䛜ฟ䜛䛣䛸䛿᫂ⓑ䛷䛒䜛䚹䛴䜎䜚䚸䝔䜽䝇䝖ศᯒ䛻ຍ䛘䛶䜋䛛䛾せ⣲䜢⪃៖䛩䜛ᚲせᛶ䛜↓䛟䛺䜛䛸䛔䛖䛣䛸䛻䛺䜛䚹☜䛛䛻䚸ᮧୖᮏே䛾䛔䛖ཎᩥ䛾䝸䝈䝮䛾෌⌧䛻↔Ⅼ䜢ᙜ䛶䜛䛸䛔䛖䝇䝖䝷䝔䝆䛜䚸᪥ᮏㄒ䛸䛧䛶ከᑡ䛾㐪࿴ឤ䜢୚䛘䛶䛔䜛䜿䞊䝇䜒䛒䜛䚹䛣䜜䛿䚸ཎᩥ䛾ᣢ䛴せ⣲䜢᪥ᮏㄒ䛻⨨䛝᥮䛘䛯䛸䛝䛻ㄞ⪅䛻㐪࿴ឤ䜢୚䛘䛺䛔䜘䛖ᥦ♧䛩䜛䛸䛔䛖ᮧୖ䛾ᣦ㔪䛻཯䛧䛶䛔䜛䛸䛔䛖䛣䛸䛷䜒䛒䜛䚹䛣䛾౛䛸䛧䛶䚸⦅㞟⪅䝂䞊䝗䞁䞉䝸䝑䝅䝳䠄Gordon Lish䠅䠄Hemmingson, 2011䠅䛻䜘䛳䛶኱⫹䛻⦅㞟䛥䜜䛯䛣䛸䛷▱䜙䜜䜛䜹䞊䞂䜯䞊䛾సရ䛾୍䛴 䛄Sacks䛅䠄2009:㻌 34䠅䛻Ⓩሙ䛩䜛఍ヰ䛾䝅䞊䞁䜢ぢ䛶䜏䛯䛔䚹‘Look here,’ I says. [...]‘I saw it on the TV last night,’ she says.
‘They go away clean,’ I says.
‘Pretty slick,’ she says.
‘The perfect crime,’ I says.
187
187

䛄㏻ヂ⩻ヂ◊✲䛅ྕ  ‘Not many people get away with it,’ she says.
㻌 ୗグ䛾ᮧୖヂ䛄ⳫᏊ⿄䛅䠄2006c: 78䠅䛷䛿䚸䜹䞊䞂䜯䞊⊂≉䛾䝇䝍䜲䝹䛷䛒䜛䚸ྎᮏ䜢ᛮ䜟䛫䜛䜘䛖䛺䠍⠇䜢᏶඲䛻෌⌧䛧䛶䛚䜚䚸ヂᩥ䛻䛿“she says” “I says” 䛸䛔䛖⾲⌧䛜ྵ䜎䜜䛶䛔䜛䚹䛴䜎䜚䚸ཎᩥ䛾㞺ᅖẼ䜢ᦆ䛺䜟䛪䛻ヂ䛥䜜䛶䛔䜛䛾䛰䛜䚸䛣䛾⧞䜚㏉䛧䛜᪥ᮏㄒ䛸䛧䛶䛿䜔䜔୙⮬↛䛻ឤ䛨䜙䜜䜛䛾䛰䚹䛂䛭䛖䛔䛘䜀䛃䛸⚾䛿ゝ䛳䛯䚹[...]
䛂ኤ䜉䝔䝺䝡䛷ぢ䜎䛧䛯䜟䛃䛸ᙼዪ䛿ゝ䛳䛯䚹䛂㩭䜔䛛䛺ᡭ୪䜏䛰䜘䛽䛃䛸⚾䛿ゝ䛳䛯䚹䛂䛩䛤䛟䝇䝬䞊䝖䛃䛸ᙼዪ䛿ゝ䛳䛯䚹䛂᏶඲≢⨥䛰䛃䛸⚾䛿ゝ䛳䛯䚹䛂䛺䛛䛺䛛䛒䜣䛺䛻䛖䜎䛟䛿䛔䛝䜎䛫䜣䜘䛽䛃䛸ᙼዪ䛿ゝ䛳䛯䚹㻌 䛣䛾䜘䛖䛻䚸ᮧୖ䛾ཎᩥ䛾䝸䝈䝮䛻ᑐ䛩䜛ᙉ䛔㛵ᚰ䛿䚸ヂᩥ䛻☜䛛䛻⾲䜜䛶䛔䜛䚹䛧䛛䛧䚸䛭䜜䛜᏶඲䛺␗໬ⓗ⩻ヂ䛷䛒䜛䛸䛿᩿ゝ䛷䛝䛺䛔䚹౛䛘䜀䚸ཎᩥ䛾䝸䝈䝮䜢෌⌧䛩䜛䛯䜑䛻ᮧୖ䛜⾜䛳䛶䛔䜛㏲ㄒヂ䛜䛒䜛䚹䛂[…] ൅䛿⩻ヂ⪅䛸䛧䛶䛿䛹䛱䜙䛛䛸ゝ䛘䜀㏲ㄒヂ䛷䛩䚹[...] ୍ㄒ୍ྃ䝔䜻䝇䝖䛾䜎䜎䛻䜔䜛䛾䛜൅䛾䜔䜚᪉䛷䛩䛃䠄ᮧୖ䞉ᰘ⏣䚸2000: 20䠅䛸ㄝ᫂䛩䜛䚹ᮧୖ䛾䛔䛖㏲ㄒヂ䛸䛿䚸⩻ヂ䜢䛩䜛㝿䛻ཎᩥ䛾䝸䝈䝮䜢᪥ᮏㄒ䛻⛣䛧᭰䛘䜛䛯䜑䛻ᩥ❶䜢༊ษ䛳䛯䜚䚸⧅䛢䛯䜚䛩䜛䛣䛸䛷䛒䜛䠄ᮧୖ䞉ᰘ⏣䚸2000: 21-2䠅䚹䛴䜎䜚䚸ᮧୖ䛿᪥ᮏㄒ䛾ᩥἲ䛻䛒䜛䛂୺ㄒɆ┠ⓗㄒɆືモ䛃䛾ᵓᡂ䜢ᔂ䛥䛪䛻ཎᩥ䛾䝸䝈䝮䜢෌⌧䛩䜛䛣䛸䛷䚸ᩥ❶䛜ᴟᗘ䛺⩻ヂㄪ䛻䛺䜛䛾䜢㜵䛞䚸ㄞ䜏䜔䛩䛥䛜ᦆ䛺䜟䜜䛺䛔䜘䛖䛻ᕤኵ䛧䛶䛔䜛䚹ୗグ䛾౛䛷ᮧୖ䛾㏲ㄒヂ䛾ຠᯝ䜢᳨ド 䛧䛶䜏䛯䛔䚹ཎᩥ䛷ᩥ❶䛾༊ษ䜜䜛⟠ᡤ䛿␒ྕ䛷⾲♧䛧䛶䛒䜛䚹[[1] Something in her tone [2] reminded me of the other girl’s [3] “I think
he killed a man,” [4] and had the effect of stimulating my curiosity. [5] I
would have accepted without question the information that Gatsby sprang
from the swamps of Louisiana or from the lower East Side of New York.
[6] That was comprehensible. (Fitzgerald, 2012: 36-7)ᮧୖヂ䛾ྠ䛨୍⠇䜢ẚ㍑䛩䜛䚹
[1] ᙼዪ䛾ཱྀㄪ䛿䚸[2] 䛥䛳䛝ู䛾ፉ䛜ཱྀ䛻䛧䛯ゝⴥ䜢൅䛻ᛮ䛔ฟ䛥䛫䛯䚹 [3]䛂䛒䛾ே䚸ㄡ䛛䜢ẅ䛧䛯䛣䛸䛜䛒䜛䛸ᛮ䛖䛺䚹䛃 [4] 䛭䛧䛶൅䛾ዲወᚰ䛿䜎䛩䜎䛩่⃭䛥䜜䛯䚹[5] 䜒䛧䛯䛸䛘䜀䚸䜼䝱䝒䝡䞊䛿䝹䜲䝆䜰䝘䛾἟ἑᆅᇦ䛾ฟ㌟䛷䛒䜛䛸䛔䜟䜜䛶䜒䚸䝙䝳䞊䝶䞊䜽䛾䝻䝽䞊䞉 䜲䞊䝇䝖䝃䜲䝗䛾㈋䛧䛔ᆅᇦ䛾ฟ㌟䛷䛒䜛䛸
188
188ⴭྡ⩻ヂᐙ䞉䝔䜽䝇䝖ศᯒ䞉ྍどᛶᴫᛕ䛔䜟䜜䛶䜒䚸䛭䜜䛺䜚䛻䛩䜣䛺䜚ཷ䛡ධ䜜䛶䛧䜎䛳䛯䛣䛸䛰䜝䛖䚹 [6] 䛭䜜䛿൅䛻䜒⌮ゎ୙ྍ⬟䛺䛣䛸䛰䛳䛯䛛䜙䚹䠄ᮧୖ䚸2006b: 95䠅ୗグ䛾㔝ᓮヂ䛸ẚ㍑䛧䛶䜏䜛䛸䚸ᮧୖヂ䛾ᩥ❶䛿ཎᩥ䛾䝸䝈䝮䜢෌⌧䛩䜛䜘䛖䛻༊ษ䜙䜜䛶䛔䜛䛾䛜᫂ⓑ䛷䛒䜛䚹䛴䜎䜚䚸ᩥ❶䜢ㄞ䜣䛰᫬䛾 1 ࿧྾䜢 1 䛴䛾༢఩䜢䛧䛶༊ษ䜚䚸≉䛻[2]䛷䛿⤊Ṇ➢䜢౑䛖䛣䛸䛻䜘䜚ㄞ䜏䜔䛩䛟䛧䛶䛔䜛䚹㔝ᓮヂ䛻䛿䛭䛾䜘䛖䛺ὀព䛜ᡶ䜟䜜䛶䛔䜛䜘䛖䛻䛿ぢ䛘 䛪䚸≉䛻᭱ึ䛾୍⠇䛷䛿[3]䜢[1]䛸[2]䛾㛫䛻ධ䜜䜛䛣䛸䛻䜘 䛳䛶䚸᪥ᮏㄒ䛸䛧䛶䜒୺ㄒ䛸㏙ㄒ䛾㛫㝸䛜㛗䛟䛺䜚ᅇ䜚䛟䛹䛔⾲⌧䛻䛺䛳䛶䛔䜛䚹䛴䜎䜚䚸㔝ᓮヂ 䛷䛿ཎᩥ䛾䝸䝈䝮䛻㏆䛵䛡䜘䛖䛸䛿䛧䛶䛔䛺䛔䜘䛖䛻ぢ䛘䜛䚹䛭䛖䛔䛖ᙼዪ䛾ཱྀㄪ䛻䛿䚸䛹䛣䛛䛂䛒䛯䛧䚸䛝䛳䛸ே䜢ẅ䛧䛯䛣䛸䛾䛒䜛⏨䛰䛸ᛮ䛖䜟䛃䛸ゝ䛳䛯䚸䛒䛾ፉ䛾ゝⴥ䜢ᛮ䛔㉳䛥䛫䜛䜒䛾䛜䛒䛳䛯䚹䛭䜜䛜൅䛾ዲወᚰ䜢䛛䛝䛯䛶䛯䚹䜼䝱䝒䝡䞊䛜䝹䜲䝆䜰䝘䛾‵ᆅᖏ䛾⏘䛰䛸䛛䚸 䝙䝳䞊䝶䞊䜽 䛾䜲䞊䝇䝖䞉䝃䜲䝗ȃୗᒙ♫఍䛾ฟ䛰䛸䛛䛔䛖䛾䛺䜙䚸䜌䛟䛿㛫㐪䛔䛺䛟ㄆᐜ䛧䛯䛸ᛮ䛖䛾䛰䚹䛭䜜䛺䜙⣡ᚓ䛷䛝䜛䛾䛷䛒䜛䚹䠄㔝ᓮ䚸1989: 81䠅㻌 ᮧୖ䛾ᩥ❶䛾䝸䝈䝮䛻ᑐ䛩䜛䛣䛰䜟䜚䛿䚸ὀ㔘䛾ධ䜜᪉䛻䜒⾲䜜䛶䛔䜛䚹ὀ㔘䛿䝔䜽䝇䝖䛜⩻ヂ䛷䛒䜛䛣䛸䜢᫂䜙䛛䛻䛩䜛䛯䜑䚸ྠ໬ⓗ䛺⩻ヂ䛷䛿䛒䜎䜚᥇⏝䛥䜜䛺䛔䛸⪃䛘䜙䜜䜛䚹ୗグ䛾㔝ᓮ䛸ᮧୖ䛾౛䜢ẚ㍑䛩䜛䛸䚸⩻ヂ䜢䛩䜛ୖ䛷ཎᩥ䛾䝸䝈䝮 䛾෌⌧䜢㔜ど䛩䜛ጼໃ䛻㐪䛔䛜䛒䜛䛣䛸䛜᫂䜙䛛䛷䛒䜛䚹ᮧୖヂ䛷䛿ᩥ❶䛾ὶ䜜䜢 ಖ䛴䛯䜑䚸ὀ㔘䛿ྛ❶䛾᭱ᚋ䛾䝨䞊䝆䛻ධ䜜䛶䛔䜛䚹୍᪉䚸㔝ᓮヂ䛷䛿ὀ㔘䛜ᩥ䛾୰䛻ᤄධ䛥䜜䛶䛔䜛䚹[...] 䛭䜜䜙䛿䚸㐀ᖯᒁ䛛䜙ฟ䛶䛝䛯䜀䛛䜚䛾㈌ᖯ䛾䜘䛖䛻䚸㉥䜔㔠Ⰽ䛻㍤䛔䛶
䜌䛟䛾᭩Ჴ䛻䛺䜙䜃䚸䝬䜲䝎䝇䠄ヂὀ㻌 䜼䝸䝅䜰⚄ヰ䛾䝥䝹䜼䝳䜰䛾⋤䚹ᡭ䛻䜅䜜䜛䜒䛾䛜䛩䜉䛶㯤㔠䛻ኚ䜟䛳䛯䠅䜔䝰䝹䜺䞁䠄ヂὀ 㻌 䜰䝯䝸䜹䛾ᐩ㇦䠅䜔䝭䝅䞊䝘䝇䠄ヂὀ㻌 䝻䞊䝬䛾リே䚸ᨻ἞ᐙ䛷䚸䝩䝺䝇䜔䞂䜯䞊䝆䝹䛺䛹䛾䝟䝖䝻䞁 䠅䛺䛹䛰䛡 䛜 ▱ 䛳䛶䛔 䜛ᒣ ྿Ⰽ 䛾 ⛎ᐦ 䜢 䛸䛝 䛒䛛 䛧䛶 䛟 䜜䛭䛖 䛻 ぢ䛘 䛯 䚹䠄 㔝ᓮ 䚸2006:
10-1䠅
[...] 䛭䛾㉥䛸㔠Ⰽ䛾⫼⾲⣬䛿䚸㗪㐀䛥䜜䛯䜀䛛䜚䛾᪂䛧䛔㈌ᖯ䛾䜘䛖䛷䚸䝭䝎䝇⋤䜔䝰䝹䜺䞁䜔䝬䜶䜿䝘䝇 䠆 1 䛧䛛▱䜙䛺䛛䛳䛯ග䜚㍤䛟⛎ᐦ䜢䚸䜒䜜䛺䛟ゎ䛝᫂䛛䛧䛶䛟䜜䜛䜘䛖䛻ぢ䛘䛯䚹䠄ᮧୖ䚸2006b: 15䠅* 1 䝻䞊䝬䛾ᨻ἞ᐙ䚹ᩥᏛ䞉ⱁ⾡䛾ಖㆤ⪅䛸䛧䛶䝩䝷䝔䜱䜴䝇䜔䜴䜵䝹䜼䝸䜴䝇䜢ᚋ᥼䛧䛯䚹䠄ᮧୖ䚸2006b: 46䠅㻌 ὀ㔘䛾౑䛔᪉䛾┦㐪Ⅼ䛿䚸䝸䝈䝮䛾㔜ど䛸䛿ู䛾ഃ㠃䛻䜒ぢ䜙䜜䜛䚹㔝ᓮ䛜ὀ㔘䜢ῧ䛘䜛┠ⓗ䛿䚸༢䛻ㄞ⪅䜈ゎㄝ䜢ᥦ౪䛩䜛䛯䜑䛰䛸⪃䛘䜙䜜䜛 䚹୍᪉䚸ᮧୖ䛿⮬ศ䛾ゎ㔘䜢ㄞ⪅
189
189

䛄㏻ヂ⩻ヂ◊✲䛅ྕ  䛸ඹ᭷䛩䜛䛯䜑䛻䜒ὀ㔘䜢ῧ䛘䛶䛔䜛䛾䛷䛒䜛䚹䛣䜜䛻㛵䛧䛶 䚸ᯘ䠄2012: 6䠅䛿ᮧୖ䛾ὀ㔘䜢䚸≉ᐃ䛾ゝⴥ䛾ព࿡䜢ㄝ᫂䛩䜛ㄒὀ䛸䚸≉ᐃ䛾ᩥ❶䛻ᑐ䛩䜛ᮧୖ䛾ゎ㔘䜢ㄝ᫂䛩䜛䛯䜑䛾ヂὀ䛸䛔䛖䚸䠎䛴䛾䝍䜲䝥䛻ศ㢮䛧䛶䛔䜛䚹ᮧୖ䛾ὀ㔘䛿༢䛻ㄞ⪅䛻ゝⴥ䛾ព࿡䜢⌮ゎ 䛥䛫䜛䛯䜑䛾䜒䛾䛷䛿䛺䛟䚸ᮧୖ䛾⩻ヂ䛾᰿ᣐ䜢ゎ㔘䛧䛯䛔䛸䛔䛖ㄞ⪅䛾Ẽᣢ䛱䜢䛭䛭䜛ᶵ⬟䜒ᯝ䛯䛧䛶䛔䜛䛸䛔䛘䜛䚹䛣䛾䜘䛖䛺ㄞ⪅䛻ാ䛝䛛䛡䜛ᶵ⬟ 䛂dialogic function䛃䠄Wertsch, 1991: 74䠅䜢ᣢ䛴ὀ㔘䛾౑⏝䛿䚸ᮧୖ≉᭷䛾⩻ヂ 䝇䝖䝷䝔䝆䛾䠍౛䛷䛒䜛䛸⪃䛘䜙䜜䜛䚹䛭䜜䛿༢䛻᝟ሗᥦ౪䜢䛧䛶䛔䜛䛾䛷䜒䚸✚ᴟⓗ䛻┠ᶆゝㄒ䛾つ⠊䛻᢬ᢠ䛒䜛䛔䛿᭹ᚑ䛧䛶䛔䜛䛾䛷䜒䛺䛔䚹ᮧୖ䛿⩻ヂ䛾⿬䛻䛒䜛⌮ㄽⓗ䛺ゎ㔘䜢ㄞ⪅䜔ᢈホᐙ䛻᥎䛥䛫䜛䛣䛸䛷䚸ᮧୖ䛾ゎ㔘䛜⏕䜎䜜 䛯䠍✀䛾㐣⛬䜢ඹ᭷䛧䛶䛔䜛䛾䛷䛒䜛䚹ḟ䛻ᣲ䛢䜛䛾䛿䚸䛄䜾䝺䞊䝖䞉䜼䝱䝒䝡䞊䛅䛻ὀ㔘䛸䛧䛶᭩䛛䜜䛯ᮧୖ䛾⪃ᐹ䛷䛒䜛䚹䜒䛱䜝䜣䝇䝽䝇䝔䜱䜹䠄㖋༑Ꮠ䠅䛿䝘䝏䝇䛾䝅䞁䝪䝹䛻䛺䜛䜟䛡䛰䛜䚸ᮏ᭩䛜᭩䛛
䜜䛯 1920 ᖺ௦䛾༙䜀䛻䛿䚸䜎䛰୍⯡ⓗ䛺䝕䝄䜲䞁䛻㐣䛞䛺䛛䛳䛯䚹䛧䛛䛧䜴䝹䝣䝅䝱䜲䝮䛜䝴䝎䝲ே䛷䛒䜛䛣䛸䜢⪃䛘䜛䛸䚹䛒䛟䜎䛷⤖ᯝⓗ䛻䛷䛿䛒䜛䛡䜜䛹䚸䛭䛣䛻䛿ఱ䛛୙ྜྷ䛺䜲䝯䞊䝆䛜⏕䜎䜜䜛䛣䛸䛻䛺䜛䚹 䠄ᮧୖ, 2006b: 326䠅䛣䛾౛䜢ぢ䜛䛸䚸ᮧୖ䛜⩻ヂ䜢䛩䜛ୖ䛷᭱䜒Ẽ䛻䛛䛡䛶䛔䜛䛾䛿䚸䞂䜵䝚䝔䜱䛜ᨭᣢ䛩䜛䛂⩻ヂ⪅䛾ྍどᛶ䜢㧗䜑䜛䛯䜑䛻┠ᶆゝㄒつ⠊䜢そ䛩䛃䛣䛸䛷䛿䛺䛔䚸䛸䛔䛖䛣䛸䛜ㄞ䜏ྲྀ䜜䜛䚹௦䜟䜚䛻䚸ᮧୖ䛿⮬ᕫ䛻䜘䜛≀ㄒ䛾ゎ㔘䜢ㄞ⪅䛸ඹ᭷䛩䜛䛣䛸䛻㠀ᖖ䛻↔Ⅼ䜢ᙜ䛶䛶䛔䜛䚹䛥䜙䛻䚸ὀ㔘䜢⩻ヂ䝔䜽䝇䝖䛻ῧ䛘䜛ᙧ䛾䝟䝷䝔䜽䝇䝖䛸䛧䛶⏝䛔䜛䛰䛡䛷䛺䛟䚸సရ⤂௓䛾䝨䞊䝆䛷సရ䛻ᑐ䛩䜛ᮧୖᮏே䛾ಶேⓗ䛺ᛮ䛔ධ䜜䜔䚸䛭䛾సရ䛾⩻ヂ䜢⾜䛳䛯⤒⦋䜢ゎㄝ䛧䛶䛔䜛䚹䛴䜎䜚䚸䛂⩻ヂ᭩䛻䛿䚸ゎㄝ䛸ヂὀ䛿䛹䛖䛧䛶䜒୙ྍḞ䛺䜒䛾䛺䜣䛷䛩䚹ᩥ໬⫼ᬒ䛜㐪䛖䜣䛰䛛䜙䚸୍⯡ㄞ⪅䛻䛿䛭䛖䛔䛖䜒䛾䛜ᚲせ䛺䜣䛷䛩 䚹䛃䠄ᮧୖ, 2003: 6䠅䛸䛔䛖䛣䛸䛷䛒䜛䚹ᮧୖ䛾ㄞ⪅䛻ᑐ䛩䜛 䛣䛾䜘 䛖䛺䝃䞊䝡䝇⢭⚄䛿䚸 䝃 䝸䞁䝆䝱䞊 䛾䛄 䜻䝱䝑䝏䝱䞊䞉 䜲䞁䞉䝄䞉䝷䜲䛅䚸䛄䝣䝷䝙䞊䛸䝈䞊䜲䛅䛾䜿䞊䝇䛷ఛ䛖䛣䛸䛜䛷䛝䜛䚹䝃䝸䞁䝆䝱䞊䛾䜶䞊䝆䜵䞁䝖䛷䛒䜛 Harold Ober Associates 䛸䛾ฟ∧ዎ⣙䛷䛿ヂ⪅䛾䛔䛛䛺䜛ゎㄝ䜒௜䛡䛶䛿䛺䜙䛺䛔䛸䛔䛖䛣䛸䛻䛺䛳䛶䛔䛯䠄ᮧୖ, ᰘ⏣, 2003: 5䠅䚹䛭䛾䛯䜑䚸ᮧୖ䛿䛄䜻䝱䝑䝏䝱䞊䞉䜲䞁䞉䝄䞉䝷䜲䛅䛻㛵䛧䛶䛿䚸䛄䝃䝸䞁䝆䝱䞊ᡓグ䛅䠄ᮧୖ, ᰘ⏣ 2003䠅䛸㢟䛧సရ䜢ヲ䛧䛟ゎㄝ䛧䛯᭩⡠䜢ู
㏵ฟ∧䛧䚸䛄䝣䝷䝙䞊䛸䝈䞊䜲䛅䛻㛵䛧䛶䛿 29 䝨䞊䝆䛻䜒ཬ䜆ヂ⪅ゎㄝ䛄䛣䜣䛺䛻㠃ⓑ䛔ヰ䛰䛳䛯䜣䛰!䛅䠄ᮧୖ, 2014b䠅䜢ㄞ⪅䛻䜸䞁䝷䜲䞁䛷↓ᩱᥦ౪䛧䛶䛔䜛䚹㻌 䛯䛧䛛䛻䚸ヂ⪅ゎㄝ䜔సရ⤂௓䛸䛔䛖䝟䝷䝔䜽䝇䝖䜢ά⏝䛩䜜䜀䚸ᮧୖ䛿⩻ヂ䛻ᑐ䛩䜛⮬ศ䛾ゎ㔘䜢ㄞ⪅䛻┤᥋ㄝ᫂䛷䛝䜛䚹䛧䛛䛧䚸ᚑ᮶䛛䜙䛾ྍどᛶ䛾ᴫᛕ䜢㚷䜏䜛䛸䚸ᮧୖ䛜㠀ᖖ䛻ྍど໬䛥䜜䛯⩻ヂ⪅䛷䛒䜛䛺䜙䜀䚸ヂᩥ䛿ᑡ䛧䜒ὶᬸ䛷䛿䛺䛔䜒䛾䛻䛺䛳䛶䛔䜛䛿䛪䛷䛒䜛䚹୍᪉䚸ᮧୖ䛜ྠ໬ⓗ⩻ヂ䜢⾜䛖⩻ヂ⪅䛸䛧䛶ཎస䛾௦⏝䜢స䜚ฟ䛩䛯䜑䛻⩻ヂ䜢⾜䛳䛶䛔䜛ヂ䛷䛿䛺䛔䛣䛸䛿䚸䛣䛾䜘䛖䛺䝟䝷䝔䜽䝇䝖䛾ά⏝䛻䛿䛳䛝䜚䛸⾲䜜䛶䛔䜛䚹䛧䛯䛜䛳䛶䚸ᮧୖ䛾䝇䝖䝷䝔䝆䛿䚸ྠ໬ⓗ⩻ヂ䛸䛿␗䛺䛳䛶䛔䜛䛣䛸䛜᫂䜙䛛䛷䛒䜛䚹䛥䜙䛻䚸≉ฟ䛩䜉䛝190
190

ⴭྡ⩻ヂᐙ䞉䝔䜽䝇䝖ศᯒ䞉ྍどᛶᴫᛕ䛿␗໬䛸䜒␗䛺䛳䛶䛔䜛Ⅼ䛷䛒䜛䚹㻌 ᮧୖ䛾⩻ヂ䝇䝖䝷䝔䝆䛿┠ᶆゝㄒつ⠊䜢そ䛧䚸ㄞ⪅䜢⩻ヂ䛛䜙㐲䛦䛡䜛䛯䜑䛻䝟䝷䝔䜽䝇䝖ⓗ䛺せ⣲䜢⏝䛔䜛䛾䛷䛿䛺䛔䚹䜐䛧䜝䚸䝟䝷䝔䜽䝇䝖䛿⩻ヂ ⾜Ⅽ䛻䛚䛡䜛䛒䜛✀䛾㐣⛬䜢ㄞ⪅䛸ඹ᭷䛩䜛䛯䜑䛻⏝䛔䜙䜜䚸䜎䛯సᐙ䛸䛧䛶䛾᝿ീຊ䛜⩻ヂ䛾ᇶ♏䛸䛺䛳䛶䛔䜛䛣䛸䜢♧䛧䛶䜒䛔䜛䚹䛭䛧䛶䚸ᮧୖ䛾⩻ヂ䝇䝖䝷䝔䝆䛿䛣䛖䛧䛯๰సຊ䜢ព㆑ⓗ䛻᫂♧䛧䚸ከ䛟 ȃ๤ਸ䛿ཎᩥ䛾᪂ゎ㔘䜢✚ᴟⓗ䛻⾜䛳䛶䛔䜛䛾䛷䛒䜛䚹䛭䜜䛿䚸ḟ䛾䜘䛖䛺⟠ᡤ䛻䜏䜙䜜䜛䚹[…] せᡤせᡤ䛷䚸ᑠㄝᐙ䛸䛧䛶䛾᝿ീຊ䜢ά⏝䛧䛶⩻ヂ䜢䛚䛣䛺䛳䛯䛸䛔䛖䛣䛸䛰䚹䜒䛧൅䛜స⪅䛷䛒䜜䜀䛣䛾㒊ศ䛿䛹䛖䛔䛖㢼䛻᭩䛟䛰䜝䛖䛸᝿ീ䛧䛺䛜䜙䚸䝣䜱䝑䝒䝆䜵䝷䝹䝗䛾䚸᫬䛸䛧䛶䝫䜲䞁䝖䛜䝇䝸䝑䝟䝸䞊䛻䠄⁥䜚䜔䛩䛟䠅䛺䛳䛶䛔䛟ᩥ❶䜢䚸䜂䛸䛴䜂䛸䛴᥀䜚㉳䛣䛧䛶䛔䛳䛯䚹䠄ᮧୖ, 2006b: 337䠅
4. ⩻ヂ࡜᪂ゎ㔘㻌 ⩻ヂ䛻䛚䛡䜛ᮧୖ䛾᪂ゎ㔘䛿䚸ⱥㄒ䛻ẚ䜉䛶」㞧䛺᪥ᮏㄒ䛾ே⛠௦ྡモ䜢ᕦ䜏䛻౑䛔ศ䛡䚸┠ᶆ䝔䜽䝇䝖䛻᪂䛧䛔䝙䝳䜰䞁䝇䜢๰䜚䛰䛩䛸䛝䛻䜘䛟⾲䜜䛶䛔䜛䛸ゝ䛘䜛䚹᪥ᮏㄒ䛷ே⛠௦ྡモ䜢౑䛖ሙྜ䚸㢼⩦䜔♫఍ⓗᆅ఩䚸┦ᡭ䛾⥆᯶䛺䛹 䛻ᚑ䛔ே⛠௦ྡモ䜢㑅ᢥ䛧䛶౑⏝䛩䜛䚹౛䛘䜀䚸ⱥㄒ䛾 䛂I䛃 䜢࿴ヂ䛩䜛ሙྜ䛻䛿䛂⚾䛃䚸䛂൅䛃䚸䛂ನ䛃䚸䛂䛒䛯䛧䛃䛺䛹䛛䜙㑅ᢥ䛩䜛ᚲせ䛜䛒䜛䚹䜎䛯䛣䜜䜙䛾ே⛠௦ྡモ䛿ヰ䛧ᡭ䛾ே᱁䜢ᬯ䛻♧䛧䛶䛔䜛䛸䜒ゝ䛘䜛䚹䠎ே⛠௦ྡモ䛾ሙྜ䜒䚸㑅ᢥ䛩䜛௦ྡモ䛻䜘䛳䛶䝔䜽䝇䝖ୖ䛾ヰ䛧ᡭ䛸⪺䛝ᡭ䛾❧ሙ䜔㛵ಀᛶ䛿ኚ໬䛩䜛䚹ⱥㄒ䛾䛂you䛃䜢ヂ䛩㝿䛿䛂ྩ䛃䚸䛂䛚๓䛃䚸䛂䛒䛺䛯䛃䛺䛹䛛䜙㑅ᢥ䛩䜛䛾䛜୍⯡ⓗ䛷䛒䜛䚹㻌 䛣䛾䜘䛖䛺ே⛠௦ྡモ䛾ᛶ㉁䛛䜙䚸ⱥᩥ࿴ヂ䛾ሙྜ䚸௦ྡモ䛾㑅ᢥ䛜Ⓩሙே≀㛫䛾ୖୗ㛵ಀ䜔♫఍ⓗᆅ఩䛻ᐇ㉁ⓗ䛺ᙳ㡪䜢୚䛘䜛 䠄Ἔ஭, 2007: 25-6䠅䚹䛭䛾䛯䜑䚸ከ䛟䛾⩻ヂ⪅䛿௦ྡモ䛾㑅ᢥ䛻ᑐ䛧䛶ಖᏲⓗ䛷䛒䜛㻌 (Ἔ஭, 2007: 26-7䠅䚹䛧䛛䛧䚸ᮧୖ䛿ே⛠௦ྡモ䜢ヂ䛩㝿䚸≉䛻୺ேබ䛾ே⛠௦ྡモ䛾ሙྜ䛻䚸ᮧୖ䛾ᩥయ䛻䜘䛟ぢ䜙䜜䜛≉᭷䛺㑅ᢥ䜢䛧䛶䛔䜛䚹⩻ヂ䜒ྵ䜑䛯ᮧୖ䛾సရ඲⯡䛻Ⓩሙ䛩䜛⏨ᛶ୺ேබ䛿୍㈏䛧䛶 ⮬ศ䛾䛣䛸䜢䛂൅䛃䛸࿧䜣䛷䛔䜛䛯䜑䚸ᮧୖ䛾ᑠㄝ䛚䜘䜃⩻ヂ䛻Ⓩሙ䛩䜛୺ேබ䛾ᛶ᱁䜔ಶᛶ䛻䚸ඹ㏻Ⅼ䜢ぢฟ䛩䛣䛸䛜䛷䛝䜛䚹ᮧୖ䛾ᡭ䛜䛡䛯⩻ヂ䝔䜽䝇䝖䛻䛿䚸ཎᩥ䛻䛚䛡䜛୺ேබ䛾ᛶ᱁䛻ᣊ䜟䜙䛪䚸ᮧୖᑠㄝ䛻ぢ䜙䜜䜛୍㈏䛧䛯䜲䝯䞊䝆䛜⾲䜜䛶䛚䜚䚸཮᪉䛾䝔䜽䝇䝖㛫䛻┦஫ 䛾㛵㐃ᛶ䜢⏕䜏ฟ䛧䛶䛔䜛䚹 Rubin 䠄2002: 37䠅䛿䚸௨ୗ䛾䜘䛖䛻䚸䛣䛾ᮧୖ≉᭷䛾䛂൅䛃䛻䛿䚸ᮏே䛾ᛶ᱁䛜⾲䜜䛶䛔䜛䛸㏙䜉䛶䛔䜛䚹
Murakami was by no means the first Japanese novelist to adopt boku as the“I” of a nameless male narrator, but the personality with which Murakami
invested his Boku was unique. First o f all it resembled his own, with agenerous fund of curiosity and a cool, detached, bemused acceptance of theinherent strangeness of life. This stance normally makes Boku a passive
191
191䛄㏻ヂ⩻ヂ◊✲䛅ྕ  

character, which in turn gives rise to a speech habit – or “Haruki-ism”
often used by Murakami’s protagonists when they are confronted by
confounding situations: “yare -yare”.
䠷䛂൅䛃䜢༏ྡ䛾䛂⚾䛃䛸䛧䛶⏝䛔䜛䛾䛿↓ㄽ䚸᪥ᮏ䛾ᑠㄝᐙ䛷䛿ᮧୖ䛜ึ䜑䛶䛷䛿䛺䛔䛜䚸ᮧୖ䛜䛣䛾䛂൅䛃䛻㎸䜑䜛䝟䞊䝋䝘䝸䝔䜱䞊䛻䛿≉Ṧ䛺䜒䛾䛜䛒䜛䚹䜎䛪䚸ዲወᚰ᪲┒䚸䜽䞊䝹䛷ୡ㛫䛛䜙Ꮩ❧䛧䛶䛔䛶᪥ᖖ⏕ά䛷㉳䛣䜛୙ྍᛮ㆟䛺ฟ᮶஦䜢ᙜᝨ䛧䛺䛜䜙䜒ཷ䛡ධ䜜䜛䛸䛔䛖䛒䛯䜚䛿ᮧୖᮏே䜢ᛮ䜟䛫䜛䚹䛣䛾䜘䛖䛺ጼໃ䛜䛂൅䛃䛸䛔䛖ཷ䛡㌟䛺ே≀ീ䜢ᥥ䛔䛶䛚䜚䚸ᮧୖ䛾ᑠㄝ䛷ᅔᝨ䛧䛯୺ேබ䛾ཱྀⒷ䛂䜔䜜䚸䜔䜜䛃䛸䛔䛖䝣䝺䞊䝈䛜⏝䛔䜙䜜䜛䛾䜒䛭䛾䜘䛖䛺ᙳ㡪䛛䜙䛝䛶䛔䜛䛸⪃䛘䜙䜜䜛䚹䠹 5୺ேබ௨እ䛾Ⓩሙே≀䛻䛴䛔䛶䜒䚸ᮧୖ䛿᪥ᮏㄒ䛾ே⛠௦ྡモ䛾ᣢ䛴ᚤጁ䛺䝙䝳䜰䞁䝇䜢ά䛛䛧䛶䛔䜛䚹䛭䛖䛩䜛䛣䛸䛷䚸ಖᏲⓗ䛺䝇䝖䝷䝔䝆䜢⏝䛔䛯ሙྜ䛻䛿⏕䜎䜜䛺䛔䜘䛖䛺᪂ゎ㔘䜢ᥦ౪䛧䛶䛔䜛䚹౛䛘䜀䚸䛄䜻䝱䝑䝏䝱䞊 䞉䜲䞁䞉䝄䞉䝷䜲䛅䛷䛿䚸ᮧୖ䛾๰㐀ⓗ䛺௦ྡモ䛾౑䛔᪉䛻䜘䛳䛶䚸ጼ䛾ぢ䛘䛺䛔୺ேබ䛜ㄞ⪅䛻ྥ䛛䛳䛶ㄒ䜚䛛䛡䛶䛔䜛䜘䛖䛺༳㇟䜢୚䛘䛶䛔䜛䚹ዪ䛾Ꮚ䛸ᡭ䜢䛴䛺䛠䛸䚸䛯䛔䛶䛔䛾ሙྜ┦ᡭ䛾ᡭ䛿䚸ྩ䛾ᡭ䛾୰䛷䛟䛻䜓䛳䛸Ṛ䜣䛨䜓䛳䛶䛔䜛䜣䛰䜘䚹䠷…䠹 䛷䜒䝆䜵䞊䞁䛿㐪䛳䛶䛔䛯䚹䠷…䠹ྩ䛾ᡭ䛜ờ䛷‵䛳䛶䛔䜛䛛䛹䛖䛛䛩䜙䚸䝆䜵䞊䞁䛾ሙྜ䛻䛿䛔䛱䛔䛱Ẽ䛻䛧䛺䛟䛶䛔䛔䜣䛰䚹ྩ䛻䜟 䛛䛳䛶䛔 䜛䛾䛿䚸 ྩ䛿ᖾ⚟䛰䛳䛶䛣䛸䛰䚹䜂䛯䛩䜙 ᖾ⚟䛺䜣䛰䜘 䚹䠄 ᮧୖ䚸
2006a: 136䠅㻌㔝ᓮ䜢ྵ䜐ᮧୖ௨እ䛾⩻ヂ⪅䛯䛱䛿ཱྀㄒ⾲⌧䛻䛚䛔䛶ே⛠௦ྡモ䜢┬䛟ሙྜ䛜ከ䚻䛒䜛䚹౛䛘䜀䚸ୗグ䛾㔝ᓮヂ䛷䛿ᮧୖヂ䛸␗䛺䜚䚸୺ேබ䛜⊂䜚ゝ䜢ゝ䛳䛶䛔䜛༳㇟䜢ཷ䛡䜛䚹≉䛻㝿❧䛴䛾䛜䚸ᖾ⚟䛺䛾䛿ㄒ䜚ᡭᮏே䛷䛒䜛䛸䛔䛖༳㇟䜢୚䛘䛶䛔䜛㔝ᓮヂ䛻ᑐ䛧䛶䚸ᮧୖヂ䛷䛿䚸ᖾ⚟䛺䛾䛿䛂ྩ䛃䛰䛸┦ᡭ䛻ㄒ䜚䛛䛡䛶䛔䜛Ⅼ䛷䛒䜛䚹䛣䜜䛿ᮧୖ䛸䜋䛛䛾⩻ヂ⪅䛾⏝䛔䜛䝇䝖䝷䝔䝆䛸䛾㛫䛻ぢ䜙䜜䜛┦㐪Ⅼ䛾䜂䛸䛴䛷䛒䜛䚹䛯䛔䛶䛔䛾ዪ䛾Ꮚ䛿䚸ᡭ䜢ᥱ䜚ྜ䛖䛸䚸䛭䛾ᡭ䛜Ṛ䜣䛷䛧䜎䛖 䚹䠷…䠹䝆䜵 䞊䞁䛿㐪䛖䜣䛰䚹䠷…䠹┦ᡭ䛜䝆䜵䞊䞁䛰䛸䚸䛣䛳䛱䛾ᡭ䛜ờ䜀䜣䛷䜛䛛䛹䛖䛛䛥䛘䚸Ẽ䛻䛺 䜙 䛺 䛔 䜣 䛰 䛺 䚹 䛒 䜛 䛾 䛿 䛯 䛰 ᖾ ⚟ ឤ 䛰 䛡 䛺 䜣 䛰 䚹 䜋 䜣 䛸 䛺 䜣 䛰 䚹 䠄 Nozaki䚸
2006: 125-6䠅㻌 㔝ᓮ䛾౛䛻ぢ䜛䚸ே⛠௦ྡモ䜢┬䛟䛸䛔䛖㑅ᢥ䛿࿴ヂ䛷䛿୍⯡ⓗ䛷䛒䜛䚹䛣䛖䛩䜛䛣䛸䛷䚸䛯䛧䛛䛻⩻ヂ䛾ᩥయ䛿䛺䜑䜙䛛䛻䛺䜛䚹䛧䛛䛧䚸 ᮧୖ䛾䜘䛖䛻䚸㉳Ⅼゝㄒ䛾ᣢ䛴ᩥ❶䛾䝟䝍䞊䞁䜔䝸䝈䝮䜢෌⌧䛩䜛䛸䛔䛖ពᅗ䛜䛒䜛ሙྜ䛻䛿㐺䛧䛶䛔䛺䛔䠄ᮧୖ䞉ᰘ⏣䚸2003: 46-7䠅䚹
192
192

ⴭྡ⩻ヂᐙ䞉䝔䜽䝇䝖ศᯒ䞉ྍどᛶᴫᛕ䛣䜜䜎䛷䜏䛶䛝䛯䜘䛖䛻䚸ᮧୖ䛾䝇䝖䝷䝔䝆䛿ཎᩥ䛾䝸䝈䝮䜢෌⌧䛧䛺䛜䜙䛭䛣䛻ྵ䜎䜜䜛せ⣲䜢᪂ゎ㔘䛩䜛䛣䛸䛷䛒䜛䚹ᮧୖ䛜⩻ヂ䛩䜛సရ䛿᪤䛻࿴ヂ䛥䜜䛶䛔䜛ሙྜ䜒ከ䛔䛜䚸䛣 䛾䜘䛖䛺䝇䝖䝷䝔䝆䜢⏝䛔䜛䛣䛸䛷䚸ᮧୖ䛾⩻ヂ䛻≉᭷ᛶ䛜⏕䜎䜜䛶䛔䜛䚹ᮧୖ䛾⏬ᮇⓗ䛺䝇䝖䝷䝔䝆䛿ពᅗⓗ䛻㑅ᢥ䛥䜜䛯䜒䛾䛷䛒䜛䚹䛭䜜䛿䛄䜻䝱䝑䝏䝱䞊䞉䜲䞁䞉䝄䞉䝷䜲䛅䛾ヂᩥ䛾୍⠇䛻ᑐ䛩䜛ᮧୖ⮬㌟䛾䝁䝯䞁䝖䛛䜙ㄞ䜏ྲྀ䜜䜛䚹䛣䛣䛷ᮧୖ䛿䚸స୰䛾䝣䜱䞊䝡䞊䛸䛔䛖ዪ䛾Ꮚ䛸䛭䛾඗䛷䛒䜛䝩䞊䝹䝕䞁䛾఍ヰ䛾ሙ㠃䛻䛴䛔䛶ゝཬ䛧䛶䛔䜛䚹൅䛿䚸䝣䜱䞊䝡䞊䛜䝩䞊䝹䝕䞁䛻ྥ䛛䛳䛶Ⓨ䛩䜛 “you” 䛿䚸䛹䛖⪃䛘䛶䜒䛂䛒䛺䛯䛃䛸䛧䛛ヂ䛫䛺䛔䛧䚸䛒䜜䜢䛂䛒䛺䛯䛃䛸ヂ䛧䛱䜓䛔䛡䛺䛔䛸䚸䜒䛧ゝ䜟䜜䛯䛸䛧䛯䜙䚸൅䛿䛣䛾ᮏ䛿⩻ヂ䛧䛯䛟䛺䛔䛷䛩䛽䚹᩿ᅛᣄྰ䛧䛱䜓䛔䜎䛩䛽䚹䠷…䠹䛭䜜䛿䛩䛤䛟኱ ஦䛺䛣䛸䛺䜣䛷䛩䜘 䚹䜒䛱䜝䜣䚸ヂ⪅䛻䜘 䛳䛶䛭䜜 䛮䜜䛾⪃䛘᪉䚸ឤ䛨᪉䛿䛒䜛䛸ᛮ䛖䛡䛹䚸൅䛾ୡ⏺䛻䛒䛳䛶䛿䚸䛒䜜䛿䛂䛒䛺䛯䛃䛸䛧䛛ヂ䛧䜘䛖䛜䛺䛔䜣䛷䛩䚹䛯䛸䛘䜀䛒䜜䜢䛂䛚඗䛱䜓䜣䛃䛸䛛䛂඗䛥䜣䛃䛸䛛࿧䜣䛰䜙䚸൅䛸䛧䛶䛿䛚䛧䜎䛔䛺䜣䛷䛩䜘 䛽䚹䛒䛟䜎䛷൅䛸䛧䛶䛿䛸䛔䛖䛣䛸䛷䛩䛜䚹 䠄ᮧୖ䞉ᰘ⏣䚸2003:
48-9䠅
䛣䛾䜘䛖䛺ᮧୖᮏே䛾䛿䛳䛝䜚䛸䛧䛯୺ᙇ䛛䜙䜒⌮ゎ䛷䛝䜛䜘䛖䛻䚸 ᮧୖ䛾䠎ே⛠௦ྡモ䛾㑅 ᢥ 䛻 䛿༢ 䛻 ࿧䜃 ᪉ 䜢ኚ ໬䛥 䛫 䜛 䛰 䛡 䛷䛿 䛺 䛟 䚸 㔜せ䛺 ព ࿡䛜 ㎸䜑 䜙 䜜䛶䛔 䜛 䚹ᮧୖ 䛜
䛂you䛃䛸䛔䛖ே⛠௦ྡモ䜢䛂䛒䛺䛯䛃䛸ヂ䛩䛣䛸䛷 䚸䝣䜱䞊䝡䞊䛿䝩䞊䝹䝕䞁䛾ᐇᅾ䛩䜛ጒ䛷䛿䛺䛟䚸䝩䞊䝹䝕䞁⮬㌟䛾䜰䝹䝍䞊䜶䝂䚸䛴䜎䜚ᗁᙳⓗ䛺䜒䛾䛰䛸䛔䛖䛣䛸䛜⾲⌧䛥䜜䛶䛔䜛䠄ᮧୖ䞉ᰘ⏣, 2003: 48䠅䚹䛭䛾⤖ᯝ䚸䛄䜻䝱䝑䝏䝱䞊䞉䜲䞁䞉䝄䞉䝷䜲䛅䛷䛿䝩䞊䝹䝕䞁⮬㌟䛜㐣
ཤ䛻ኻ䛺䜟䜜䛯ᗂඣⓗ䜲䝜䝉䞁䝇䛸ᑐ㠃䛩䜛䛸䛔䛖᪂䛧䛔 ㄞ䜏᪉䛜⏕䜎䜜䛶䛔䜛䚹ᮧୖ䛿䚸䛣䛾䜘䛖䛺᪂ヂ䛜඲䛶䛾ㄞ⪅䛻ཷᐜ䛥 䜜䜛䜟䛡䛷䛿䛺䛔䛣䛸䜢ᢎ▱䛧䛶䛔䛺䛜䜙䜒䚸⩻ヂ᫬䛾⮬ศ䛾Ỵ᩿䜢ḟ䛾䜘䛖䛻㏙䜉䛶䛔䜛䚹
䠷…䠹䜒䛧Ẽ䛻ධ䜙䛺䛛䛳䛯䜙䚸䛩䜏䜎䛫䜣䛜䛒䛱䜙䛾ヂ䜢ㄞ䜣䛷䛟䛰䛥䛔䛽䚸䛭䛖䛔䛖㢼䛻ㅰ䜛䛧䛛䛺䛔䛷䛩䜘䛽䚸䛣䜜䛿䚹㏨䛢䜛䛾䛷䛿䛺䛔䛡䛹䚸᏶඲䛺⩻ヂ䛸䛔䛖䛾䛿ཎ⌮ⓗ䛻䛒䜚䛘䜎䛫䜣䛛䜙䚹䠄ᮧୖ,䞉ᰘ⏣䚸2003: 50䠅㻌 ᮧୖ䛻䛸䛳䛶䚸㠀ᖖ䛻㔜せ䛺ព࿡䜢ᣢ䛴䛣䛖䛧䛯⩻ヂ䛾㑅ᢥ䛿䚸䛒䜛⛬ᗘ䛿┠ᶆゝㄒつ⠊䜢そ䛩䜒䛾䛰䛸䛔䛘䜛䚹䜎䛯䚸ᮧୖ䛿ཎᩥ䛻䛒䜛㉳Ⅼゝㄒ䛾ᩥ໬ⓗせ⣲䜢ྍど໬䛥䛫䜛䛣䛸䛷䜒ୖグ䛾䛂䛒䛺䛯䛃䛻䜏䜛㝿❧䛳䛯ຠᯝ䜢㐩ᡂ䛧䛶䛚䜚䚸ㄞ⪅䛾཯ᛂ䜔⌮ゎຊ䛻㛵ಀ↓䛟䚸័⏝ྃ䜔⇍ㄒ䚸䛭䛧䛶ཎᩥ䛻䛒䜛≉᭷䛾⾲⌧᪉ἲ䜢෌⌧䛩䜛ഴྥ䛜䛒䜛䚹䛄䜾䝺䞊䝖䞉䜼䝱䝒䝡䞊䛅䛷䚸ཎᩥ䛻䛒䜛䛂old sport䛃䜢䛭䛾䛸䛚䜚䛂䜸䞊䝹䝗䞉 䝇䝫䞊䝖䛃䛸䜹䝍䜹䝘⾲グ䛧 䛶䛔䜛䛾䛜Ⰻ䛔౛䛷䛒䜛䚹䛣䛾⾲⌧䛿ཎᩥ䛾୰䛷 42 ᅇ౑䜟䜜䛶䛔䜛䚹ᮧୖ䛿䚸䛣䛾ྃ䜢䛹䛖ヂ䛩
䜉䛝䛛 20 ᖺ௨ୖᝎ䜣䛷䛝䛯䛜䚸᭱⤊ⓗ䛻䛿ཎᩥ䛸䛚䜚䛾䛂䜸䞊䝹䝗䞉䝇䝫䞊䝖䛃䛸ヂ䛩䛣䛸䛻䛧䛯䛾䛰䛳䛯䚹㔝ᓮ䜒䜎䛯 The Great Gatsby 䜢⩻ヂ䛧䛶䛔䜛䛜䚸㔝ᓮ䛿䛣䛾ྃ䜢ᮧୖヂ䛸ྠ
193193

䛄㏻ヂ⩻ヂ◊✲䛅ྕ  ➼䛺㐪࿴ឤ䜢ᣢ䛴䛂ぶ཭䛃䛸䛔䛖⾲⌧䛻ヂ䛧䛶䛔䜛䠄஭ୖ䚸2012: 186䠅䚹
20 ୡ⣖ึ㢌䛾䜲䜼䝸䝇䛾ୖὶ㝵⣭䛻⏤᮶䛩䜛䛣䛾䛂old sport䛃䛿䚸1920 ᖺ௦䛾䜰䝯䝸䜹ே䜼䝱䝑䝒䝡䞊䛻䛸䛳䛶䛿័⏝ⓗ䛷䛿䛺䛛䛳䛯䛿䛪䛷䛒䜛䚹䛭䛾䛯䜑䚸ᮧୖ䛿䛣䛾⾲⌧䜢䛺䛛䛺䛛⡆༢䛻䛿⩻ヂ䛷䛝䛺䛛䛳䛯䜘䛖䛷䛒䜛䚹䛭䛾䛯䜑䚸ᮧୖ䛿䛺䛬 䝣䜱䝑䝒䝆䜵䝷䝹䝗䛜䛣䛾䜘䛖䛺㐪࿴ឤ䛾䛒䜛⾲⌧䜢㑅ᢥ䛧䛯䛾䛛䚸䛭䛧䛶䛭䛾⾲⌧䜢 㢖⦾䛻⏝䛔䜛䛣䛸䛷ᚓ䜙 䜜䜛ຠᯝ䛜ఱ䛷䛒䜛䛾䛛ヲ䛧䛟ㄪ䜉䛯䜘䛖䛷䛒䜛䚹ᮧୖ䛿௨ୗ䛾䜘䛖䛻᥎䛧䛶䛔䜛䚹䜼䝱䝒䝡䞊䛿䛯䜆䜣䜸䝑䜽䝇䝣䜷䞊䝗䛻ᅾ⡠䛧䛶䛔䜛䛸䛝䛻䚸䛣䛾ゝ䛔ᅇ䛧䜢ぬ䛘䛯䛻㐪䛔䛺䛔䚹䛭䛧䛶䜰䝯䝸䜹䛻ᖐ䛳䛶᮶䛶䛛䜙䜒䚸㌟䛻╔䛔䛯ཱྀⒷ䛸䛧䛶䚸䜎䛯䛒䜛✀䛾Ẽྲྀ䜚䛸䛧䛶䚸䛭䛾ゝⴥ䜢౑䛔⥆䛡䛶䛔䛯䛾䛰䚹䛭䛖䛔䛖䜼䝱䝒䝡䞊䛾⏕᮶䛾₇ᢏᛶ䇷䇷䛭䜜䛿⬌ᩓ⮯䛟䜒䛒䜚䚸ྠ᫬䛻䝘䜲䞊䝤䛷䜒䛒䜛䇷䇷䝣䜱䝑䝒䝆䜵䝷䝹䝗䛿䛣䛾࿧䜃䛛䛡䛾ゝⴥ䜢㏻䛧䛶䜋䜣䛾䜚䛸♧၀䛧䛶䛔䜛䜟䛡䛰䚹䠄ᮧୖ䚸
2006b: 355䠅䛣䜜䜎䛷᪥ᮏㄒ䛻䛿Ꮡᅾ䛧䛺䛛䛳䛯䛂䜸䞊䝹䝗䞉 䝇䝫䞊䝖䛃 䛸䛔 䛖⾲⌧䜢㑅ᢥ䛧䛯ᮧୖ䛾Ỵ᩿䛻䛿䚸䛚䛭䜙䛟♫఍ⓗ䚸ᩥ໬≉᭷䛺䜒䛾඲⯡䜢䛣䛾୍ゝ䛷཯ᫎ䛩䜛䛣䛸䛜୙ྍ⬟䛷䛒䜛䛸䛔䛖ᮏே䛾ㄆ㆑䛜ᬯ♧䛥䜜䛶䛔䜛䛾䛛䜒䛧䜜䛺䛔䚹☜䛛䛻䚸䛂䜸䞊䝹䝗䞉䝇䝫䞊䝖䛃௨እ䛾䜒䛾䛷䛿䛒䜚ᚓ䛺䛔䛾䛰䛸ᮧୖ䛿⣲┤䛻ㄆ䜑䛶䛔䜛䠄ᮧୖ䚸2006b: 354䠅䚹஭ୖ 䠄2012: 186䠅䛿㔝ᓮ䛾㑅ᢥ䛧䛯䛂ぶ཭䛃䛻ᑐ䛧䛶䚸௨ୗ䛾䜘䛖䛻㏙䜉䛶䛔䜛䚹᪥ᮏㄒ䛾࿧䜃䛛䛡䛾ゝⴥ䛸䛧䛶䛿䜋䛸䜣䛹౑䜟䜜䛺䛔䛣䛾⾲⌧䛿䚸ཎᩥ䛾䜼䝱䝒䝡䞊䛾䛧䜓䜉䜚᪉䛾୙⮬↛䛥䜢⾲⌧䛧䛶䛔䜛䛜䚸㠀᪥ᖖⓗ䛺⩻ヂᩥయ䜢ヂᩥ඲య䛻⏝䛔䛶䛔䜛㔝ᓮヂ䛷䛿䚸䛭䛾୙⮬↛䛥䛜㏫䛻⾲䜜䛶䛔䛺䛔䛸䛧䚸ᮧୖヂ䛻㛵䛧䛶䛿䜹䝍䜹䝘⾲グ䛥䜜䛯䛂䜸䞊䝹䝗䞉䝇䝫䞊䝖䛃䛿䚸㐪࿴ឤ௨እ䛻୙ྍゎ䛥䜒ຍ䜟䛳䛶䚸䜼䝱䝒䝡䞊䛾ᣢ䛴᛹䛧䛢䛺ឤ䛨䛜⾲⌧䛥䜜䛶䛔䜛䚹㻌 ㄞ⪅䛿䚸ᮧୖ䛜㑅ᢥ䛧䛯⾲⌧䛻ᑐ䛧䛶୙‶䜔ᣄ⤯ឤ䜢ᢪ䛟䛾䛷䛿䛺䛟䚸㏫䛻ᚋ᭩䛝䜢ㄞ䜣䛷䚸ᮧୖ䛾⊂≉䛺㑅ᢥ䛻₯䜐᰿ᣐ䜢▱䜚䛯䛔䚸䛸䛔䛖 Ẽᣢ䛱䜢ᢪ䛟䚹䛭䜜䛿䛩䛺䜟䛱䚸ᮧୖ䛾ㄞ⪅䛿䚸ㄞ䜣䛷䛔䜛䝔䜽 䝇䝖䛜⩻ヂ䛷䛒䜚䚸ᮧୖ 䛜ᡭ䛜䛡䛯⩻ヂసရ䛷䛒䜛䛸䛔䛖ព㆑䜢ᣢ䛳䛶䛔䜛䛣䛸䛾ドᣐ䛰䛸ゝ䛘䜛䚹ᮧୖ䛿䚸⩻ヂᐙ䛸䛧䛶ㄆ㆑䛥䜜䛶䛔䜛❧ሙ䛻䛔䜛䛣䛸䛷䚸ᶆ‽ⓗ䛺䝇䝖䝷䝔䝆䛻⦡䜙䜜䜛䛣䛸䛺䛟䚸ぢⴠ䛸䛧䜔䛩䛔ཎᩥ䛾」㞧䛺㒊ศ䜢⾲⌧䛩䜛䛸ྠ᫬䛻䚸᪂䛧䛔ཎᩥゎ㔘䛾ᥦ᱌䜢⾜䛳䛶䛔䜛䛾䛷䛒䜛䚹5. ⩻ヂᐙᮧୖࡢෑ㝤㻌 ⩻ヂ䜢㏻䛨䛶䝔䜽䝇䝖䜢᪂ゎ㔘䛩䜛䛣䛾䛝䜟䜑䛶⊂⮬䛺䝇䝖䝷䝔䝆䛿䚸䛚䛭䜙䛟ヂ⪅⮬㌟䛜
ཎస⪅䛻≉ู䛺ᛮ䛔䜢ᣢ䛳䛶䛔䜛ሙྜ䛻ྍ⬟䛰䛸ゝ䛘䜛䛰䜝䛖䚹ᮧୖ䛿䛣䛾䜘䛖䛺ཎస⪅䛸䛾ಶேⓗ䛺㛵ಀ䜢♧䛧䛶䛚䜚䚸䛭䛣䛻䛿䝔䜽䝇䝖䜢䜑䛠䜛ヂ⪅⮬㌟䛾ෑ㝤䜢ㄞ⪅䛸ඹ᭷䛩䜛194194ⴭྡ⩻ヂᐙ䞉䝔䜽䝇䝖ศᯒ䞉ྍどᛶᴫᛕ䛸䛔䛖┠ⓗ䛜䛒䜛䚹㻌 సᐙ䛜⩻ヂ䜢ᡭ᥃䛡䜛䛾䛿⛥䛺䛣䛸䛷䛿䛺䛔䚹䛧䛛䛧䚸䛭䛾ሙྜ䛿䝥䝻䛾⩻ヂ⪅䛜ୗヂ䜢䛧䛶䚸సᐙ䛜䛭䜜䛻ᡭ䜢ຍ䛘䜛䛸䛔䛖䛾䛜୍⯡ⓗ䛷䛒䜛䠄୕ᾆ䚸2003: 24䠅䚹ᮧୖ䛾ሙྜ䛿䛭
䛾㏫䛷䚸䜎䛪⮬ศ䛷⩻ヂ䜢䛧䛶䛛䜙䚸ᰘ⏣ඖᖾ䛺䛹䜰䝯䝸䜹ᩥᏛ䛾ᑓ㛛ᐙ䛻┘ಟ䜢౫㢗䛧䛶䛔䜛䠄ᮧୖ䞉ᰘ⏣䚸2000: 51䠅䚹䜎䛯䚸ᮧୖ䛾䜘䛖䛺᭷ྡேẼసᐙ䛜䛣䜜䜋䛹䜎䛷䛻⩻ヂ䛻ຊ䜢ධ䜜䜛䛾䛿␗౛䛺䛣䛸䛷䜒䛒䜛䠄ෆ⏣䞉㒔⏥䞉἟㔝䚸2010: 179䠅䚹㻌 ᮧୖ䛻䛿䚸⩻ヂసᴗ඲య䜢ฟ᮶䜛㝈䜚⮬ศ䛾ᡭ䛷᏶ᡂ䛥䛫䜛䛸䛔䛖䛣䛰䜟䜚 䛜䛒䜛䚹ᮧୖ䛻䛸䛳䛶䛾⩻ヂసᴗ䛸䛿⚾ⓗ䛺άື䛷䛒䜚䚸䜎䛯䛭䛣䛻䛿ཎస⪅䛾ᩥయ䜔ᩥ❶䛾䝉䞁䝇䜢ಟᚓ䛩䜛䛸䛔䛖┠ⓗ䛜䛒䜛䠄ᮧୖ, 2000: 87䠅䚹䛭䛖䛔䛖㠃䛷䛿᫂἞᫬௦䛾⩻ヂᐙ䛻ఝ䛶䛔䜛䛸䛔䛘䜛䚹䛺䛬䛺䜙䚸䛣䛾᫬௦䛾⩻ヂ䛻䛿䚸ᮍ▱䛾ᩥᏛ䜔ᛮ᝿䜔Ꮫၥ䜢㍺ධ䛩䜛௨እ䛻䚸㉳
Ⅼᩥ໬䜢᥈⣴䛩䜛䛸䛔䛖┠ⓗ䛜䛒 䜚䚸ᮧୖ䜒᫂἞᫬௦䛾⩻ヂᐙ䜒䚸㉳Ⅼᩥ໬䛸ཎస⪅䛻㛵䛩䜛᝟ሗ䛾◊✲䛸䛔䛖Ⅼ䛷䚸⩻ヂ䛻ồ䜑䜛┠ⓗ䛿ඹ㏻䛧䛶䛔䜛䛛䜙䛰䚹䛯䛰䛧䚸ᮧୖ䛾⩻ヂάື䛿䚸᫂἞᫬௦䛾⩻ヂᐙ䛜ᢪ䛔䛶䛔䛯䚸⩻ヂ䜢ᅜ䛾Ⓨᒎ䜔ᅜᐙ஦ᴗ䛻䛴䛺䛢䜘䛖䛸䛩䜛⌮ᛕ䛸䛿↓⦕䛷䛒䜛䚹ᮧୖ䛿䚸ཎస⪅䛾ᩥయ䜔ᢏἲ䜢◊✲䛩䜛ពᅗ䛛䜙䚸⩻ヂ䛾ᑐ㇟䛸䛩䜛䝔䜽 䝇䝖䜢㑅ᢥ䛧䛶䛔䜛䚹ᐇ㝿䚸ⱥᩥᘧ䛾ㄒ㡰䜔ẚ႘ⓗ䛺⾲⌧䛺䛹䚸ᮧୖ≉᭷䛾ᩥ❶䛾䝇䝍䜲䝹䛿ⱥㄒ䛾ᩥయ䛛䜙ᙳ㡪䜢ཷ䛡䛶䛔䜛䚹䛭䜜䛿㛗ᖺ⥆䛡䛶䛝䛯⩻ヂసᴗ䛾㐣⛬䛷ᇵ䜟䜜䛯䜒䛾䛷䛒䜛䚹䛭䜣䛺ᮧୖ䛜ึ䜑䛶⩻ヂ䛻ច䛛䜜䛯䛾䛿䚸ḟ䛾䜘䛖䛻䚸㧗ᰯ䛾ヨ㦂ၥ㢟䛻ฟ䛯䜹䝫䞊䝔䜱䛾䛂↓㢌䛾㮚䠄‘The Headless Hawk”䠅䛃䛷䛒䜛䛸㏙䜉䛶䛔䜛䚹
䠷…䠹䛒䜎䜚䛻䜒䛭䛾ᩥ❶䛜ぢ஦䛺䛾䛷䚸䜂䛳䛟䜚䛛䛘䜛䛟䜙䛔ឤື䛧䛯䜣䛷䛩䚹䛷䜒䛭䛾䛸䛝䜒䚸䛯䛰ㄞ䜣䛷䛂䛣䜜䛿⣲ᬕ䜙䛧䛔䟿䛃䛸ឤື䛧䛯䛰䛡䛷䛿䛺䛔䜣䛷䛩䜘䛽䚹䛭䜜䜢᪥ᮏㄒ䛻⛣䛧᭰䛘䜛䛣䛸䛻䜘䛳䛶䚸⮬ศ䜒୺యⓗ䛻䛭䛾⣲ᬕ䜙䛧䛥䛻ཧຍ䛧䛶䛔䜛䛸䛔䛖䛯䛧䛛䛺ᡭᛂ䛘䛜䛒䛳䛯䚹(ᮧୖ,䞉ᰘ⏣䚸2000: 58)㻌 సᐙάື䛸ྠ᫬䛻䚸ᮧୖ䛿䛣䜜䜎䛷ಶேⓗ䛻ᓫᣏ䛩䜛⌧௦సᐙ䛾సရ䜢⩻ヂ䛧⥆䛡䛶䛝䛯䚹䛭䜜䜙 䛾సရ 䜢ศᯒ䛧䚸ᩥయ䜢ゎయ䛧䛶䛭䜜䜢䜎䛯෌ᵓᡂ䛩䜛㐣⛬䛷䚸ᮧୖ䛿ᑠㄝ䛾᭩ 䛝 ᪉ 䛾 ከ 䛟 䜢 Ꮫ 䜣 䛷䛔 䜛 䚹 䜹 䝫 䞊䝔 䜱 䜔䝣 䜱 䝑 䝒 䝆䜵 䝷 䝹 䝗 䛾 ⢭⦓ 䛺 ᩥ ❶ 䠄 ᮧ ୖ䞉 ᰘ⏣ 䚸
2000: 57䠅 䚸 䛭 䛧 䛶 䜹 䞊 䞂 䜯 䞊 䛾 䝟 䝽 䝣 䝹 䛷 䝸 䝈 䝮 ឤ 䛾 䛒 䜛 ᩥ ❶ 䜢 ⇕ ᚰ 䛻 ⩻ ヂ 䛧 䛶 䛝 䛯䠄Rubin, 2002: 75 䠅䛾䛿䚸ᙼ䜙䛾సရ䛛䜙 Ꮫ䜆䛯䜑䛸䛔䛖䛾䛜୺䛺⌮⏤䛾䜂䛸䛴䛷䛒䜛䚹ᩥ❶䛾䝇䝍䜲䝹䜢Ꮫ䜆䛸䛔䛖⌮⏤䛷䛒䜜䜀䚸ཧ⪃䛸䛺䜛ཎᩥ䛜ఱ✀㢮䛛䛒䜜䜀༑ศ䛰䛸⪃䛘䜛䛾䛜୍⯡ⓗ䛷䛒䜛䛜䚸ᮧୖ䛾䛣䜜䜙䛾స⪅䛾సရ䛻ᑐ䛩䜛◊✲䛿䛭䛾ᇦ䜢㉸䛘䛶䛔䜛䛸䛔䛘䜛䚹୍౛䜢ᣲ䛢䜛䛸䚸ᮧୖ䛿 1990 ᖺ䛛䜙䛾 17 ᖺ㛫䛻䜰䝯䝸䜹䛷ฟ∧䛥䜜䛶䛔䜛䜹䞊䞂䜯䞊䛾సရ䜢඲㞟䛸䛔䛖䛛䛯䛱䛷⩻ヂ䛧䛶䛔䜛䚹⮬ᅜ䜰䝯䝸䜹䛷ẚ㍑ⓗ↓ྡ䛷䛒䛳䛯 䜹 䞊䞂䜯䞊䛜䚸ᮧୖ䛾⩻ヂ䛻䜘䛳䛶᪥ᮏ䛻⤂௓䛥䜜䚸సရ䛜⬮ග䜢ᾎ䜃䛶ேẼ䜢ᚓ䜛⤖ᯝ䛸䛺䛳䛯
䠄Rubin, 2002: 76䠅䚹㻌 ᮧୖ䛜䜹䞊䞂䜯䞊䜢㑅䜣䛰⌮⏤䛿䚸ᙼ䛾సရ䛜䜎䛰࿴ヂ䛥䜜䛶䛔䛺䛛䛳䛯䛛䜙 䛸䛔 䛖䛣䛸
195
195

䛄㏻ヂ⩻ヂ◊✲䛅ྕ  䛷䛿䛺䛔䚹ᩥ❶䛾䝉䞁䝇䜔సရ䛾㨩ຊ䚸సရ䛻ᑐ䛩䜛ᮧୖ⮬㌟䛾ಶேⓗ䛺᝿䛔䛛䜙䜹䞊䞂䜯䞊䜢㑅ᢥ䛧䛯䛾䛷䛒䜚䚸䛥䜙䛻⩻ヂ䛻䜘䛳䛶⮬ศ䛾᪥ᮏㄒ䛾ᩥ❶䛻᪂䛧䛔ᩥయ䜢ᶍ⣴䛩䜛䛣䛸䛜ᮧୖ䛾┠ⓗ䛷䛒䜛䛸⪃䛘䜙䜜䜛䚹䜎䛯䚸ᮧୖ䛿䝃䝸䞁䝆䝱䞊䛾 The Catcher in the Rye䜢⩻ヂ䛩䜛⌮⏤䛻䛴䛔䛶䚸ඛ⾜⩻ヂ䛾䛒䜛ྂ඾䜢⮬ศ䛺䜚䛻෌ホ౯䚸෌᳨ド䛧䛶ᩥయⓗ䛻᪂䛧䛔䜒䛾䜢ぢฟ䛩ヨ䜏 (ᮧୖ䞉ᰘ⏣䚸2003: 22) 䛷䛒䜛䛸㏙䜉䛶䛔䜛䚹൅䛸䛧䛶䛿䜔䛿䜚ᩥయୖ䛾㛵ᚰ䛜୍␒኱䛝䛛䛳䛯䛷䛩䛽䚹⩻ヂ䜢䛪䛳䛸䜔䛳䛶䛝䛶䚸䛯䛸䛘䜀䜹䞊䞂䜯䞊䜢䜔䛳䛯䜚䚸䝔䜱䝮䞉䜸䝤䝷䜲䜶䞁䜢䜔䛳䛯䜚䚸䜾䝺䜲䝇䞉䝨䜲䝸䞊䜢䜔䛳䛯䜚䛸䛛䚸䜟䜚䛻ྠ᫬௦䛾⌧ᙺ䛾ே䜢୰ᚰ䛻䜔䛳䛶䛝䛯䜟䛡䛷䛩䛽䚹䛒䛸䛿䝣䜱䝑䝒䝆䜵䝷䝹䝗䛸䛛䜹䝫䞊䝔䜱䛸䛔䛖䚸൅䛜ಶேⓗ䛻ឡዲ䛩䜛సᐙ䛾䜒䛾䛷䛩䛽䚹䛷䜒䛣䛾㎶䛷䚸䛣䜜䜎䛷䛸䛿⫙ྜ䛔䛾㐪䛖䜒䛾䚸ྂ඾䠷…䠹䛸䛺䛳䛯䛂䜻䝱䝑䝏䝱䞊䛃䜢୍ᅇ⮬ศ䛾ᡭ䛷䜔䛳䛶䜏䛯䛔䛸䛔䛖Ẽ䛜䛧䛶䛝䛯䜣䛷䛩䜘䛽䚹
䠷…䠹ྂ඾䛸䛺䛳䛯䛂䜻䝱䝑䝏䝱䞊䛃䛻ᑐ䛧䛶䚸ᩥయⓗ䛻൅䛻䛹䜣䛺䛣䛸䛜䛷䛝䜛䜣䛰䜝䛖䚸䛸䚹୍✀䛾ᣮᡓ䛸䛔䛖䛛䚸䛭䛖䛔䛖䛸䛣䜝䜒䛒䜚䜎䛩䚹ᮧୖ䛜⩻ヂ䛩䜛䛣䛸 䛻䜘 䛳䛶⏕䛨䜛ཎస䜈䛾௜ຍ౯್ 䛿䚸㑅ᢥ䛥䜜䛯ཎᩥ䛜᪥ᮏㄒ䛻䜎䛰୍ᗘ䜒⩻ヂ䛥䜜䛶䛔䛺䛔䛸䛔䛖䛣䛸䛰䛡䛻㝈䜙䛺䛔䚹㐣ཤ䛻䜋䛛䛾⩻ヂ⪅䛻䜘䛳䛶࿴ヂ䛥䜜䛶䛔䜛ྂ඾䜢䚸᫬௦䛻ྜ䛖䜘䛖䛻䛂䝞䞊䝆䝵䞁䜰䝑䝥䛃䛩䜛┠ⓗ䛷⩻ヂ䛩䜛䛣䛸䜒䛒䜛䠄ᮧୖ䞉ᰘ⏣䚸2003: 63䠅䚹䛄䜾䝺䞊䝖䞉䜼䝱䝒䝡䞊䛅䚸䛄䜻䝱䝑䝏䝱䞊䞉䜲䞁䞉䝄䞉䝷䜲䛅䛭䛧䛶䛄䝣䝷 䝙䞊䛸䝈䞊䜲䛅䛺䛹䛿ᮧୖ௨๓䛻 ࿴ヂ䛥䜜䛶䛔䜛సရ䛷䛒䜛䚹䛣䜜䜙䛾䛖䛱䚸㔝ᓮ䛜ᡭ䛜䛡䛯⩻ヂ
䠄1976; 1984; 1989䠅䛿䚸ᮧୖ⮬㌟䛜Ꮫ⏕᫬௦䛻ㄞ䜣䛷䛔䜛䠄ᮧୖ䞉ᰘ⏣䚸2003: 20䠅䚹ᮧୖ䛾㉳Ⅼ䝔䜽䝇䝖䛾㑅ᢥ䛜⾲䛩䛾䛿䚸≉ᐃ䛾సᐙཬ䜃䛭䛾సရ䛻ᑐ䛩䜛ᩗឡ䛾ᛕ䛸䚸᪂ゎ㔘䜢┠ⓗ䛸䛩䜛ಶேⓗ䝏䝱䝺䞁䝆䛷䛒䜛䛸䛔䛘䜛䚹6. ྍどᛶ 㻌 䞂䜵䝚䝔䜱䛜ᥦ♧䛧䛯ྍどᛶ䛾ᴫᛕ䛻䜘䜛䛸䚸⩻ヂ⪅䛜⏝䛔䜛⩻ヂつ⠊䛻཯䛩䜛⛬ᗘ䛻䜘䛳䛶䚸䛭䛾⩻ヂ⪅䛾ྍどᛶ䛾ᗘྜ䛔䛿ኚ䜟䛳䛶䛟䜛䛸䛔䛖䚹䛣䛾ᴫᛕ䛷䛿䚸┠ᶆゝㄒᩥ໬䛾つ⠊䛻䛧䛯䛜䛳䛶䛔䜛䚸䛴䜎䜚⩻ヂ䝔䜽䝇䝖䛷䛒䜛䛣䛸䜢ㄞ⪅䛻ᛀ䜜䛥䛫䜛ྠ໬䝇䝖䝷䝔䝆䜢᥇⏝䛧䛶䛔䜛⩻ヂ⪅䛿୙ྍど໬䛥䜜䜛䚹䛭䛾୙ྍど໬䛥䜜䜛≧ἣ䛻᢬ᢠ䛩䜛⟇䛸䛧䛶䚸⩻ヂ⪅䛿⩻ヂ䝔䜽䝇䝖䛷䛒䜛䛣䛸䛜ㄞ⪅䛻ศ䛛䜛䜘䛖䛺䝇䝖䝷䝔䝆䜢䚸ྠ໬䝇䝖䝷䝔䝆䛾௦䜟䜚䛻⏝䛔䜛䛣䛸䜢䞂䜵䝚䝔䜱䛜ዡບ䛧䛶䛔䜛䚹䛣䛾䜘䛖䛺᢬ᢠ䝇䝖䝷䝔䝆䛿䚸⩻ヂ⪅ 䛜సရ䜢␗໬䛩䜛䛣䛸䜢ព࿡䛧䛶䛔䜛䚹㻌 䛴䜎䜚䚸ୖグ䛾ᐃ⩏䛻䜘䜛䛸䚸┠ᶆゝㄒ䛾つ⠊䛻཯䛩䜛⩻ヂ䝇䝖䝷䝔䝆䜢ពᅗⓗ䛻⏝䛔䜛䛣䛸䛿䚸⩻ヂ⪅䛾Ꮡᅾ䛻ᑐ䛩䜛ㄆ㆑䛜ᇶᮏⓗ䛻ⷧ䛔䛸䛔䛖≧ἣ䛻᢬ᢠ䛩䜛⟇䛷䛒䜛䛸䛧䛶䛔䜛䚹䛥䜙䛻䚸䛣䛾䜘䛖䛺⩻ヂ⪅䛾ྍどᛶ䜢⪃ᐹ䛩䜛ᡭἲ䛸䛧䛶䞂䜵䝚䝔䜱䛾ᴫᛕ䛜✚ᴟⓗ䛻ዡບ䛧䛶䛔䜛䛾䛿⋡┤䛺䝔䜽䝇䝖ศᯒ䛷䛒䜛䚹䛧䛯䛜䛳䛶䚸⩻ヂ⪅䛾ྍどᛶ䛿䚸⩻ヂ䝔䜽䝇䝖䛾ὶᬸ䛥䛾䝺䝧䝹䛾䜏䜢ศᯒ䛩䜛䛣䛸䛻䜘䛳䛶᳨ド䛩䜛䛣䛸䛜䛷䛝䜛䛸䛥䜜䛶䛔䜛䚹䜒䛧⩻ヂ䝔䜽 䝇196196ⴭྡ⩻ヂᐙ䞉䝔䜽䝇䝖ศᯒ䞉ྍどᛶᴫᛕ䝖䛜ⴭ䛧䛟ὶᬸ䛷䛒䜛ሙྜ䚸䞂䜵䝚䝔䜱䛾ྍどᛶ䛾ᐃ⩏䛻ᚑ䛘䜀䚸䜋䛛 䛾せ⣲䜢⪃៖䛩䜛ᚲせ䛿䛺䛔䛸䛔䛖䛣䛸䛻䛺䜛䚹䛰䛜䚸䛭䜜䛷䛿༢⣧䛻䛣䛾⩻ヂ⪅䛜୙ྍど໬䛥䜜䛶䛔䜛䛸䛔䛖⤖ㄽ䛜ฟ䜛䛰䛡䛷䛒䜛䚹୍᪉䛷䚸ヂᩥ䛜┠ᶆゝㄒ䛾ᩥ໬䛻䛚䛡䜛ᩥᏛつ⠊䛾᮲௳䜢‶䛯䛧䛶䛔䛺䛔䛸ุ᩿䛥䜜䛯ሙྜ䚸䞂䜵䝚䝔䜱䛾ྍどᛶ䛾ᐃ⩏䜢㚷䜏䜛䛸䚸⩻ヂ⪅䛿ẚ㍑ⓗྍど໬䛥䜜䛶䛔䜛䛸䛔䛖⤖ㄽ䛰䛡䛜ᑟ䛝䛰䛥䜜䜛䚹௬䛻䛣䛾ᐃㄝ䛸䛥䜜䛶䛔䜛 ᴫᛕ䛜⩻ヂ⪅䛾⌧≧䜢ṇ☜䛻㏙䜉䛶䛔䜛䜒䛾䛸䛧䛶ཷᐜ䛥䜜䛯ሙྜ䚸ᮧୖ䛾⾜䛖⩻ヂ䛿┠ᶆゝㄒᩥ໬䛾つ⠊䜢そ䛩䜒䛾䛷䛒䜛䛸䛔䛖ゎ㔘䜢ᣍ䛔䛶䜒୙ᛮ㆟䛷䛿䛺䛔䚹㻌 䛧䛛䛧䚸ⴭྡ⩻ヂᐙ䛸䛔䛖ഃ㠃䜢ᣢ䛴ᮧୖ䛾ሙྜ䚸䛣䛾䜘䛖䛺䝔䜽䝇䝖ศᯒ䛾䜏䛻౫Ꮡ䛩䜛ᴫᛕ䜢㐺⏝䛥䛫䜘䛖䛸䛩䜛䛣䛸䛿䚸㞴䛧䛔䛸ゝ䜟䛦䜛䜢ᚓ䛺䛔䚹௬䛻䞂䜵䝚䝔䜱䛾ᴫᛕ䛻᏶඲䛺ಙ㢗ᛶ䛜䛒䜛䛸䛧䛯䜙䚸ྍど໬䛥䜜䛯⩻ヂ⪅䛾సရ䛻䛚䛡䜛ὶᬸ䛥䛾䝺䝧䝹䛿㠀ᖖ䛻ప䛔䜒䛾䛻䛺䜛䛿䛪䛷䛒䜛䚹ゝ䛔᥮䛘䜛䛸䚸ⴭྡ䛺⩻ヂ⪅䛿✚ᴟⓗ䛻┠ᶆ ゝㄒつ⠊䜢そ䛩䜘䛖䛺⩻ヂ䜢䛩䜛䛿䛪䛷䛒䜛䚹䛧䛛䛧䚸ᮧୖ䛾⩻ヂጼໃ䛿⮬䜙㐍䜣䛷┠ᶆゝㄒつ⠊䜢そ䛩䛣䛸䜢┠ⓗ䛸䛧䛯䜒䛾䛷䛿䛺䛔䚹せ䛩䜛䛻䚸ᩥయ䜢᧯䛳䛶ㄞ⪅䜢సရ䛛䜙㐲䛦䛡䜛䛣䛸䜢ヨ䜏䜛䛸䛔䛖␗໬ⓗ䛺ጼໃ䛸䛿㐪䛖䛸䛔䛖䛣䛸䛰䚹☜䛛䛻䚸ᮏே䜒㏙䜉䛶䛔䜛䜘䛖䛻䚸ᮧୖ䛿⮬ᕫ䛻䜘䜛ཎᩥ䛾᪂ゎ㔘䜢ㄞ⪅䛸ඹ᭷䛧䛶䛔䜛䚹䛥䜙䛻䚸ᮧୖ䛾ヂᩥ䛻䛿┠ᶆゝㄒつ⠊䛻ἢ䛖䛣䛸䛻↔Ⅼ䜢ᙜ䛶䛶䛔䛺䛔⟠ᡤ䜒ぢཷ䛡䜙䜜䜛䛜䚸䛣䛾䜘䛖䛺ഹ䛛䛺㐓⬺䛜䚸つ⠊䜢そ䛩䛯䜑䛾✚ᴟⓗ䛺䝇䝖䝷䝔䝆䛷䛒䜛ドᣐ䛿䜋䛸䜣䛹ぢ䜙䜜䛺䛔䚹㻌 ྠᵝ䛻䚸䝔䜽䝇䝖ศᯒ䛷䛿ᮧୖ䛜┠ᶆᩥ໬つ⠊䛻፽䜃䜛䛣䛸䜢ඃඛ䛩䜛䜘䛖䛺ጼໃ䛿ぢ䜙䜜䛺䛔䚹ᮧୖ䛜ὶᬸ䛺⩻ヂ䜢✚ᴟⓗ䛻ヨ䜏䛶䛔䜛䛾䛿஦ᐇ䛷䛿䛒䜛䛜䚸䛣䛾ヨ䜏䛿≀ㄒ䛾᪂ゎ㔘䜢ᥦ♧䛩䜛䛣䛸䜘䜚䜒ඃඛ䛥䜜䛶䛔䜛䛸䛿ゝ䛘䛺䛔䚹㻌 䛧䛯䛜䛳䛶䚸⩻ヂసရ䛾䝔䜽䝇䝖ศᯒ䛾䜏䛷䛿䚸⩻ヂ⪅䛜┠ᶆᩥ໬䛻䛚䛔䛶ྍど໬䛥䜜䛶䛔䜛䛛ྰ䛛䛸䛔䛖Ỵᐃⓗ䛺⤖ㄽ䜢ฟ䛩䛣䛸䛿㞴䛧䛔䛸䛔䛘䜛䚹䛥䜙䛻䚸㠀ᖖ䛻ྍど໬䛥䜜䛶䛔䜛䛣䛸䛷䛩䛷䛻࿘▱䛥䜜䛶䛔䜛ⴭྡ⩻ヂ⪅䛾సရ䛾ሙྜ䚸䝔䜽䝇䝖ศᯒ䛻౫Ꮡ䛩䜛䛸 䛥䜎䛦䜎䛺ၥ㢟䛜⏕䛨䜛䚹౛䛘䜀䚸ὶᬸ䛥䚸␗໬䛸ྠ໬䚸䛭䛧䛶つ⠊䛾ᐃ⩏䛿ᢈホ䛩䜛⪅䛾୺ほ䛻䜘䛳䛶ኚ໬䛩䜛䛸䛔䛖Ⅼ䛷䛒䜛䚹䛭䛧䛶䚸ศᯒ⤖ᯝ䛾஧⪅ᢥ୍ⓗ䛺ゎ㔘䛿䞂䜵䝚䝔䜱䛾୺ᙇ䛻୍ᒙ㛵㐃䛧䛯⤖ᯝ䜢⏕䜐䛷䛒䜝䛖䛸䛔䛖Ⅼ䛰䚹 䛴䜎䜚䚸䞂䜵䝚䝔䜱䛾ᴫᛕ䛿䚸᪥ᮏ䜢䛿䛨䜑䚸䜰䞁䜾䝻䞉䜰䝯䝸䜹ᩥ໬ᅪ䛾እ䛾⩻ヂ⪅䛸䛭䛾⩻ヂసရ䜢ศᯒ䛩䜛䛻䛿䚸㐺䛧䛶䛔䛺䛔䛸䛔䛖䛣䛸䛜ゝ䛘䛭䛖䛷䛒䜛䚹㻌㻌 䛧䛛䛧䚸ୖグ䛷㆟ㄽ䛧䛶䛔䜛ෆᐜ䜢ぢ䜛䛸䚸䛣䛾ᴫᛕ䛜䛒䜛≉ᐃ䛾ሙྜ䛻䛚䛔䛶⩻ヂ䛾ศᯒ䛻㐺䛧䛶䛔䜛䛸௬ᐃ䛧䛶䛔䜛䚹୍᪉䚸䛣䛾䜘䛖䛺ศᯒ䛿䚸ྍどᛶ䛾ᴫᛕ䛜䝔䜽䝇䝖ศᯒ䜢ඃඛ䛧䛶䛔䜛䛣䛸䛷᰿ᮏⓗ䛻ၥ㢟䛜⏕䛨䜛䛣䛸䜢ド᫂䛧䛶䛔䜛䚹䜒䛧䛣䛾ᴫᛕ䛜䚸䝔䜽䝇䝖䛜┠ᶆᩥ໬つ⠊䜈䛾ᚑᒓ䛒䜛䛔䛿ᣄྰ䛸䛔䛳䛯ほⅬ䛾䜏䛻㝈䜙䛪䚸䜘䜚ከ䛟䛾せ⣲䜢⪃៖䛩䜛䜒䛾䛷䛒䜜䜀䚸䞂䜵䝚䝔䜱䛜୺ᙇ䛧䛯ศᯒ᪉ἲ䛻䛚䛔䛶↔Ⅼ䜢ᙜ䛶䛶䛔䜛䜰䞁䜾䝻䞉䜰䝯䝸䜹ᩥ໬ᅪ䛾እ䛷䜒㐺⏝ྍ⬟䛻䛺䜛䛾䛷䛿䛺䛔䛰䜝䛖䛛䚹䛭䛾ሙྜ䛻䛿䚸┦஫䛻౫Ꮡ䛧ྜ䛖」ᩘ䛾せ⣲䛸䛭䜜䜙䛾㛵ಀᛶ䜢ㄪᰝ䛩䜛䛣䛸䛷䚸ྍどᛶ䛸䛔䛖ᴫᛕ䛜᭷䛩䜛୺ほᛶ䛸䛔䛖㞀ᐖ䜢⦆࿴䛷䛝䜛䛾䛷䛿䛺䛔䛰䜝䛖䛛䚹ㄪᰝ䛩䜛せ⣲䛸䛧䛶䛿䚸⩻ヂ䛾ฟ∧♫䛚䜘䜃ㄞ⪅䛸䛾㛵ಀ䚸ㄞ⪅䛸䛾䝁 䝭䝳䝙䜿䞊䝅䝵䞁
197
197

䛄㏻ヂ⩻ヂ◊✲䛅ྕ  䜢ᅗ䜛䛯䜑䛾䝟䝷䝔䜽䝇䝖䚸䛭䛧䛶⩻ヂ⪅䛜⩻ヂᴗ௨እ䛷࿘▱䛥䜜䛶䛔䜛䛣䛸䛾᭷↓䛺䛹䛾㡯┠䛜⪃䛘䜙䜜䜛䚹ᮧୖ䛾ㄞ⪅䜢౛䛻ᣲ䛢䜛䛸䚸 ᮧୖ䛾⩻ヂ䛩䜛ᩥᏛ䛿ᮏே䛾᭩䛟ᑠㄝ䛸ྠ䛨䛟䜙䛔䛾⇕≬ⓗ䛺ㄞ⪅䜢ᚓ䛶䛚䜚䚸ฟ∧♫ഃ䛿⩻ヂసရ䛾ཎస⪅䜘䜚⩻ヂ⪅䠄ᮧୖ䠅䛾᪉䜢኱䛝䛟ᐉఏ䛧䛶䛔䜛䜋䛹䛷䛒䜚䠄 㢼୸䚸2006: 52䚸἟㔝䚸2013: 137䠅䚸䛣䛖䛧䛯≧ἣ䜢຺᱌䛩䜛ᚲせ䛜䛒䜛䛸ゝ䛘䜛䚹㻌 䛣䜜䛻ຍ䛘䛶ᮧୖ䛾⩻ヂ సရ䛻ᑐ䛩䜛᭩ホ䜒⪃៖䛩䜛䛸䚸 䜋䛛䛾ゝㄒᩥ໬ᅪ䛸ẚ㍑䛧䛯
ሙྜ䚸᪥ᮏ䛻䛚䛡䜛⩻ヂసရ䛿䛭䛾ཎస䛸ྠ➼䛻ㄞ⪅䛻ཷᐜ䛥䜜䛶䛔䜛䛸ゝ䛘䜛䛰䜝䛖䚹䛣䛾≧ἣ䛿䚸䛂䝃䝸䞁䝆䝱䞊䛸ᮧୖ䛥䜣䛾㨦䛜㡪䛝䛒䛖䚸䝣䜯䞁䛻䛿ぢ㏨䛫䛺䛔⩻ヂ䛸≉ู䜶䝑䝉䜲䛷䛩䛃 6 䛸䛔䛖䜘䛖䛺ฟ∧♫䛾ᐉఏ䛻䜒⿬௜䛡䜙䜜䛶䛔䜛䛸⪃䛘䜙䜜䜛㻌 ๓❶䛷㏙䜉䛯䜘䛖䛻䚸ᮧୖ䛜ᚑ᮶䛾⩻ヂつ⠊䛻␃䜎䜙䛺䛔⊂⮬䛾䝇䝖䝷䝔䝆䜢⏝䛔 䜛䛣䛸䛜䛷䛝䜛䛾䛿䚸ⴭྡ⩻ヂᐙ䛸䛔䛖❧ሙ䜖䛘䛷䛒䜛䚹≉Ṧ䛺⾲⌧䜔௦ྡモ䛾㑅ᢥ䚸䛭䛧䛶ཎస䜢䜑䛠䜛ヂ⪅䛾ಶேⓗ䛺᝿䛔䛺䛹䜢䝟䝷䝔䜽䝇䝖䛷ゎㄝ䛩䜛䛸䛔䛖䚸ᮧୖ≉᭷䛾䝇䝖䝷䝔䝆䛻䜘䛳䛶⩻ヂ⪅ᮧୖ䛾ྍどᛶ䛿㧗䜑䜙䜜䚸䛥䜙䛻䛭䛾䝟䝷䝔䜽䝇䝖䜢⏝䛔䛶ㄞ⪅䛻┤᥋ㄒ䜚䛛䛡䜛䛣䛸䛷䚸䛩䛷䛻ㄞ⪅䛾୰䛷ྍど໬䛥䜜䛶䛔䜛ᮧୖ䛾䜲䝯䞊䝆䜢⿵᏶䛩䜛䛾䛷䛒䜛䚹 ᮧୖ䛾䛄䜻䝱䝑䝏䝱䞊䞉䜲䞁䞉䝄䞉䝷䜲䛅䜢୍౛䛻ᣲ䛢䜛䛸䚸䛭䛾ฟ∧䛻క䛔㔝ᓮヂ䛄䝷䜲㯏⏿䛷䛴䛛䜎䛘䛶䛅䛸ẚ㍑䛩䜛ᢈホ䛜ከᩘぢ䜙䜜䛯䠄బ⸨, 2009: 12-13䠅䚹ᮧୖヂ䜢⌧௦ⓗ䛸䛧䛶ᨭᣢ䛩䜛᪂ヂὴ䛸䚸㛗ᖺ䛻䜟䛯䜚ᐃ╔䛧䛯㔝ᓮヂ䜢ᨭᣢ䛩䜛ᐃヂὴ䛻ู䜜䛯᭩ホᐙ䛾ពぢ䛜䚸䛥䜎䛦䜎䛺㞧ㄅ䜔᪂⪺䛺䛹䛻ᥖ㍕䛥䜜䛶䛔䜛䠄బ⸨, 2009: 13䠅䛰䛡䛷䛺䛟䚸䜲䞁䝍䞊䝛䝑䝖ୖ䛷䛿୍⯡ㄞ⪅䛻䜘䜛ᮧୖ䛾⩻ヂ䛻䛴䛔䛶䛾䝁䝯䞁䝖䛜⁄䜜䛶䛔䜛䚹䛄䜻䝱䝑䝏䝱䞊䞉䜲䞁䞉䝄䞉䝷䜲䛅䛜㆟ㄽ䜢࿧䜣䛰䛾䛿䚸ᮧୖ䛾᪂ゎ㔘䛜ᚑ᮶䛾つ⠊䛛䜙㞳䜜䛶䛚䜚䚸⤖ᯝⓗ䛻≀ㄒ䛾༳㇟䛜㔝ᓮヂ䛸䛿඲䛟㐪䛖䜒䛾䛻䛺䛳䛶䛔䜛䛛䜙䛷䛒䜛䠄బ⸨, 2009: 13䠅䚹䛧䛛䛧䚸ᮧୖ䛿⮬ศ䛜⩻ヂ⪅䛷䛒䜛䛸䛔䛖䛣䛸䜢┠❧䛯䛫䜛䛯䜑䛻䚸䛣䛾䜘䛖䛺䝇䝖䝷䝔䝆䜢᥇⏝䛧䛶䛔䜛䜘䛖䛻䛿ぢ䛘䛺䛔䚹䛧䛯䛜䛳䛶䚸ⴭྡ䛺సᐙ䛷䛒䜚⩻ヂ⪅䛸䛔䛖ᮧୖ䛾≉ᛶ䛻䜘䛳䛶䚸䛥䜙䛻᪂ゎ㔘䜢ᥦ♧䛩䜛䛣䛸䛷䝔䜽䝇䝖䛜⩻ヂ䛷䛒䜛䛣䛸䜢♧䛧䛶䛔䜛䛸⪃䛘䜙䜜䜛䚹ᮧୖ䛾ྍどᛶ䜢ㄝ᫂䛩䜛ୖ䛷㠀ᖖ䛻㔜せ䛺せ⣲䛻䛿䚸ᮧୖ䛻䜘䜛సရ䛷䛒䜛 䛸䛔䛖⌮⏤䛰䛡䛷ᙼ䛾⩻ヂ䜢ㄞ䜐ᩘከ䛟䛾ᮧୖ䝣䜯䞁䚸䛭䛧䛶ᮧୖ䛾ጼໃ䛛䜙䜏䛶䜒᫂☜䛷䛒䜛䜘䛖䛻䚸⊂⮬䛾䝇䝖䝷䝔䝆䜢⏝䛔䛶⩻ヂ䜢䛩䜛䛣䛸䜈䛾ฟ∧♫䛻䜘䜛ᐜㄆ䛜ྵ䜎䜜䜛䛿䛪䛰䚹䛧䛛䛧䚸䞂䜵䝚䝔䜱䛜⾜䛖ྍどᛶ䛾ศᯒ䛻䛿䚸䛣䛾䜘䛖䛺せ⣲䛿ྵ䜎䜜䛶䛔䛺䛛䛳䛯䚹7. ࠾ࢃࡾ࡟㻌 ᚑ᮶䛾ྍどᛶ䛾ᴫᛕ䛿䜰䞁䜾䝻䞉䜰䝯䝸䜹ᩥ໬ᅪ䛷 㐺⏝䛥䜜䛶䛝䛯䛜䚸䛭䛾ᐃ⩏䜔୺ほᛶ䚸ᩥ໬ⓗ䛺≉␗ᛶ䛻䛴䛔䛶䛿ぢ㐣䛤䛥䜜䛶䛔䛯䚹䜎䛯䚸䛣䛾ᴫᛕ䛿⩻ヂ◊✲඲⯡䛻䛚䛔䛶䛛䛺䜚䛾ᢈุ䛜䛥䜜䛶䛝䛯䚹䛧䛛䛧䚸⩻ヂ⪅䛭䜜䛮䜜䛾ྍどᛶ䝺䝧䝹䜢ᐃ䜑䛯䜚䚸䛭䛾䜹䝔䝂䝸䞊䜢ศ㢮䛩䜛䛣䛸䜈䛾⯆࿡䛜⤯䛘䛺䛔䚹䛣䛾䛣䛸䛿䚸䞂䜵䝚䝔䜱䛾⌮ㄽ 䜢᥇⏝䛧⥆䛡䛶䛔䜛ከᩘ䛾◊✲䛜ド᫂䛧䛶䛔䜛䚹㻌 ᮏ✏䛾୺䛺┠ⓗ䛿䚸ྍどᛶ䛾ᴫᛕ䜢᪂䛯䛻ᒎ㛤䛩䜛䛣䛸䛜䛷䛝䜛ྍ⬟ᛶ䜢ᣢ䛴᪉ἲ䜢ᥦ᱌䛩䜛䛣䛸䛷䛒䜛䚹⩻ヂ⪅䛾ྍどᛶ䛾ศᯒ䛻䛚䛔䛶༢⣧䛻䛭䛾⩻ヂ⪅䛜┠ᶆゝㄒつ⠊䛻
198198

ⴭྡ⩻ヂᐙ䞉䝔䜽䝇䝖ศᯒ䞉ྍどᛶᴫᛕἢ䛳䛶䛔䜛䛛ྰ䛛䛸䛔䛖௨እ䛻䜒䚸䜘䜚ከ䛟䛾せ⣲䜢 ⪃៖䛩䜛వᆅ䛜䛒䜛䛾䛷䛿䛺䛔䛛䛸䛔䛖䛣䛸䛰䚹ᮧୖ᫓ᶞ䛿↓ㄽ䚸᭱䜒ⴭྡ䛺䚸䛴䜎䜚ྍど໬䛥䜜䛯⩻ヂ⪅䛾䠍ே䛷䛒䜛䚹䛧䛯䛜 䛳䛶䚸䜒䛧ᚑ᮶䛾⩻ヂ⪅䛾ྍどᛶ䛾ᴫᛕ䛻ಙ㢗ᛶ䛜䛒䜜䜀䚸䛭䜜䜢⏝䛔䛶ᮧୖ䛾⩻ヂ䝇䝖䝷䝔䝆䜢ⓗ☜䛻ㄝ᫂䛷䛝䜛䛿䛪䛷䛒䜛䚹ᮏ✏䛾ศᯒ䛿䚸ᮧୖ䛾䝇䝖䝷䝔䝆䛿䚸ᚑ᮶䛛䜙䛒䜛␗໬䛸䜒䚸
䛭䛾㏫䛷䛒䜛ྠ໬ⓗ䛺ጼໃ䛸䜒␗䛺䜛䛸䛔䛖≉ᛶ䜢ྲྀ䜚ୖ䛢䛯䚹 ᮧୖ䛜࿘▱䛾䛸䛚䜚ྍど໬䛥䜜䛶䛔䜛䛸䛔䛖஦ᐇ䛸䚸䝔䜽䝇䝖ศᯒ䛻౫ Ꮡ䛧䛯ሙྜ䛻䚸ᮧୖ䛾⩻ヂ䝇䝖䝷䝔䝆䛜䛣䛾⌮ㄽ䛾ண䛩䜛䜒䛾䛸㐃ᦠ䛧䛶䛔䛺䛔䛸䛔䛖஦ᐇ䛜▩┪䜢⏕䜣䛷䛔䜛 䛸䛔䛖⤖ㄽ䛜ྜ⌮ⓗ䛷䛿䛺䛔䛰䜝䛖䛛䚹䛧䛯䛜䛳䛶䚸ྍどᛶ䛾ศᯒ䛻䛚䛔䛶䛿䚸」ᩘ䛾せ⣲䜢᳨ウ䛩䜛䛣䛸䛜୙ྍḞ䛷䛒䜚䚸⩻ヂ⪅䛾ྍどᛶ䜢ᵓᡂ䛧䛶䛔䜛䛣䜜䜙䛾せ⣲䛜അⓎⓗ䛺䜒䛾䛷䛿䛺䛔 䛸䛔䛖䛣䛸䛜ᙜ↛䛾⤖ㄽ䛷䛒䜛䚹㻌 ᮧୖ䜢᭱䜒ⴭྡ䛺⩻ヂᐙ䛾䠍ே䛸䛧䛶⪃ᐹ䛩䜛䛣䛸䛷䚸㠀ᖖ䛻㧗䛔䝺䝧䝹䛾ྍどᛶ䜢ᵓᡂ䛩䜛せ⣲䜢ᑟ䛝䛰䛩஦䛜䛷䛝䜛䚹ㄞ⪅䛻䜘䜛ᮧୖ䛜ᡭ䛜䛡䛯⩻ヂ䛾ཷᐜ䛾䛥䜜䛛䛯䚸䛭䛧䛶䚸䛭䛾⤖ᯝ䛜⏕䜐ᮧୖ䛾ྍど໬䝺䝧䝹䛿䚸ㄞ⪅䛜㐣ཤ䛻ㄞ䜣䛰ᮧୖ䛾ᑠㄝ䜔⩻ヂ䛸ᐦ᥋䛻⤖䜃䛴䛔䛶䛔䜛䚹䛥䜙䛻䚸ᮧୖ䛿ேẼ䛾㧗䛥䜖䛘䛻䚸ฟ∧♫䜒ᮧୖ䛜⊂⮬䛾⩻ヂ䝇䝖䝷䝔䝆䜢౑⏝䛩䜛䛣䛸䛻ᑐ䛧䛶㠀ᖖ䛻ᐶ኱䛷䛒䜚䚸ᮧୖ䛿┠ᶆᩥ໬䛾つ⠊䛛䜙㐓⬺䛧䛯⩻ヂ䛜䛷䛝䜛䛾䛷䛒䜛䚹㻌 䝔䜽䝇䝖䛻↔Ⅼ䜢ᙜ䛶䛯⾜Ⅽ䛜⩻ヂ⪅䛾ྍどᛶ䜢άⓎ໬䛥䛫䜛䛸䛔䛖䞂䜵䝚䝔䜱䛾ᴫᛕ䛸䛿
㏫䛻䚸ᮧୖ䛾ྍどᛶ䛿䚸つ⠊䛛䜙᮰⦡䛥䜜䛪䛻⩻ヂάື䛜䛷䛝䜛⌮⏤䛾୍䛴䛷䛒䜛䛸䜒⪃䛘䜙䜜䜛䚹⩻ヂ⪅䛾ேẼᗘ䜔ฟ∧♫䛸䛾㛵ಀ䚸䝟䝷䝔䜽䝇䝖䛾౑⏝䛺䛹 䚸඲䛶䛾せ⣲䜢ど㔝䛻ධ䜜䚸♫఍䛸ᩥ໬䜢䜒ᑐ㇟䛸䛧䛯ศᯒ䜢⾜䛖䛣䛸䛷䚸䝔䜽䝇䝖ศᯒ䛻ẚ䜉䛶䜘䜚ṇ☜䛻⩻ヂ⪅䛾ྍどᛶ䜢≉ᐃ䛩䜛䛣䛸䛜䛷䛝䜛䛸⪃䛘䜙䜜䜛䚹䛥䜙䛻䚸ᗈ⠊ᅖ䛾せ⣲ 䜢᳨ウ䛩䜛䛣䛸䛜ྍ⬟䛷䛒䜛ሙྜ䛻䛿䚸⩻ヂ⪅䛾ྍどᛶ䛾ศᯒ䛿㝈ᐃ䛥䜜䛯ᅜ䜔ᆅᇦ䚸䛒䜛䛔䛿䛭䛣䛷䛾ᛮ᝿ⓗ䚸ᩥ໬ⓗ≉␗ᛶ䛾᮰⦡䛛䜙䜒ゎᨺ䛥䜜䜛䛾䛷䛿䛺䛔䛰䜝䛖䛛䚹䛥䜙䛻䛿䚸」ᩘ䛾せ⣲䛾┦஫ཧ↷䜢⾜䛖䛣䛸䛷䚸䞂䜵䝚䝔䜱䛾ᐃ⩏䛻䛿䜙䜐ၥ㢟Ⅼ䜒⦆࿴䛥䜜䜛䛾䛷䛿䛺䛔䛰䜝䛖䛛䚹......................................................
傜ⴭ⪅⤂௓傝䢢
᫂▼ඖᏊ (AKASHI Motoko ) is undertaking her doctoral research at the Universit y of East
Anglia. Her research focuses on the notion of celebr it y translators in regards to theparadigm of translator visibilit y and is generously funded by a student ship from the
Sasakawa foundat ion.
James Hadley is a visit ing scholar at the College of Foreign Studies of Nanjing
Agricult ural Universit y. Here, he teaches postgraduate courses on translat ion theory andresearch met hodologies, especially as t hey relat e to East Asian contexts.

199
199

䛄㏻ヂ⩻ヂ◊✲䛅ྕ  

࠙ὀࠚ
1䠅

~ 5 ) ⩻ヂ䛿➹⪅䛻䜘䜛䚹

6)᪂₻䝣䝷䝑䝅䝳䝙䝳䞊䝇 2014 ᖺ 2 ᭶ 26 ᪥

http://www.shinchosha.co.jp/news/blog/2014/02/26.ht ml࠙ཧ⪃ᩥ⊩ࠚ
Appiah, Kwame Ant hony (1993/2004). "Thick Translat ion." In Venut i, L. (Ed.). The
Translation Studies Reader: 417-29. London: Rout ledge.
Blum-Kulka, Shoshana (1986/2004). "Shift s of cohesion and coherence in translat ion." In
Venut i, L. (Ed.).The Translation Studies Reader : 291-305. London: Rout ledge.
Carver, Raymond (2009). What We Talk About When We Talk About Love. London: Vintage
Classic.
Fit zgerald, Francis Scott Key (2012). The Great Gatsby. Long Island Cit y, New York: One
Peace Books.
Hemmingson, Michael (2011). "Saying more wit hout trying to say more: On Gordon Lish
reshaping t he body of Raymond Carver and saving Barr y Hannah" Critique: Studies inContemporary Fiction 52(4): 479-98.
Rubin, Jay (2002). Haruki Murakami and the Music of Words. London: Harvill.
Rubin, Jay, Philip Gabriel and Haruki Murakami (2011). 1Q84. New York: Alfred A.
Knopf.
Rubin, Jay and Haruki Murakami (1997). The Wind-up Bird Chronicle. New York: Alfred
A. Knopf.
Rubin, Jay and Haruki Murakami (2000). Norwegian Wood. New York: Vintage
Internat ional.
Salinger, J. D. (2010). The Catcher in the Rye. London: Penguin Books.
Seats, Michael (2009). Murakami Haruki: The Simulacrum in Contemporary Japanese
Culture. P lymout h: Lexington Books.
Chan, Leo Tak-hung (2009). “Reading t he Global: The reader-consumer and t he Murakamitranslat ion pheno menon” Translation Quarterly 53, 54.
Venut i, Lawrence (2004). The Translator's Invisibility: A History of Translation . 2nd ed.
London: Rout ledge.
Wakabayashi, Judy (2009). Translat ional Japanese: A transformat ive strangeness wit hin,
PORTAL

Journalof

Multidisciplinary

International

Studies

6,1.

[online]:http://epress. lib.uts.edu.au/journals/index.php/portal/art icle/viewFile/848/1131(accessed 01/04/2014).
Wert sch, James V. (1991). Voices of the Mind: A Sociocult ural Approach to Mediated

200
200

ⴭྡ⩻ヂᐙ䞉䝔䜽䝇䝖ศᯒ䞉ྍどᛶᴫᛕ

Action. Cambr idge, Mass, Harvard Universit y Press.
஭ୖ೺ (2012) 䛄⩻ヂᩥᏛ䛾ど⏺䠖㏆⌧௦᪥ᮏᩥ໬䛾ኚᐜ䛸⩻ヂ䛅ᛮᩥ㛶ෆ⏣ᶞ䞉㒔⏥ᖾ἞䚸἟㔝඘⩏ (2010) 䛂ᮧୖ᫓ᶞ䛾"Ỵ᩿"䛃 䛄ᩥᏥ⏺䛅 64(7): 158-83.
㢼୸Ⰻᙪ (2006) 䛄㉺ቃ䛩䜛䛂൅䛃: ᮧୖ᫓ᶞ䚸⩻ヂᩥయ䛸ㄒ䜚ᡭ䛅ヨㄽ♫బ⸨⨾ᕼ (2009) 䛂᪂ヂ䜢䜑 䛠䜛 ⩻ヂᢈホẚ㍑䛃 䛄䝯䝕䜱䜰 䞉䝁 䝭䝳䝙 䜿䞊䝅䝵䞁◊✲ / Mediaand Communicat ion Studies 䛅 57: 1-20.
⏣୰኱㍜ (2013) 䛂䝙䝳䞊䝇䜢᩾䜛䠖௒ᖺ䜒ᮧୖ᫓ᶞ䛿ྲྀ䜜䛺䛛䛳䛯䛃䛄᪥⤒䝡䝆䝛䝇 ONLINE䛅
10 ᭶ 15 ᪥ [online]: http://business.nikkeibp.co.jp/art icle/topics/20131011/254476/(accessed 01/04/2014).
㛗἟⨾㤶Ꮚ䞉Ỉ㔝ⓗ䞉ᰗ∗❶ (2010) 䛄㏆௦᪥ᮏ䛾⩻ヂㄽ䛅ἲᨻ኱Ꮫฟ∧ᒁ἟㔝඘⩏ (2013) 䛂ᮧୖ᫓ᶞ vs. 䜹䝷䝬䞊䝌䝣䇲䇲⌧௦᪥ᮏ䛾⩻ヂᩥ໬䛸ୡ⏺ᩥᏛ䛃䛄ᒸᒣ኱ᏛᩥᏛ㒊䝥䝻䝆䜵䜽䝖◊✲ሗ࿌㞟䛂ᩥ໬䛾஺ὶ䚸ᩥ໬䛾⩻ヂ䛃䛅3 ᭶ 9 ᪥: 125-141.
㔝ᓮᏕ (1976) 䛄䝣䝷䝙䞊䛸䝌䞊䜲䞊䛅᪂₻♫㔝ᓮᏕ (1984) 䛄䝷䜲㯏⏿䛷䛴䛛䜎䛘䛶䛅ⓑỈ♫㔝ᓮᏕ (1989) 䛄䜾䝺䞊䝖䞉䜼䝱䝑䝒䝡䞊䛅᪂₻♫ᯘᆂ௓ (2012) ᮧୖ᫓ᶞ䛾᪂ヂ䛸୕ே䛾䝃䝸䞁䝆䝱䞊: 䛄䜻䝱䝑䝏䝱䞊䞉䜲䞁䞉䝄䞉䝷䜲䛅䜢䜑䛠䛳䛶.
9th Int ernat ional Japanese Language Educat ion/Japanese Study S ymposium . [online]:
http://www.japanese -edu.org.hk/sympo/upload/manuscr ipt/20121019095220.pdf(accessed 01/04/2014).
୕ᾆ㞞ኈ (2003) 䛄ᮧୖ᫓ᶞ䛸ᰘ⏣ඖᖾ䛾䜒䛖୍䛴䛾䜰䝯䝸䜹䛅᪂᭩㤋ᮧୖ᫓ᶞ (2006a) 䛄䜻䝱䝑䝏䝱䞊䞉䜲䞁䞉䝄䞉䝷䜲䛅ⓑỈ♫ᮧୖ᫓ᶞ (2006b) 䛄䜾䝺䞊䝖䞉䜼䝱䝒䝡䞊䛅୰ኸබㄽ᪂♫ᮧୖ᫓ᶞ (2006c) 䛄ឡ䛻䛴䛔䛶ㄒ䜛䛸䛝䛻ᡃ䚻䛾ㄒ䜛䛣䛸䛅 ୰ኸබㄽ᪂♫ᮧୖ᫓ᶞ䞉⩚㫽ዲஅ(⦅㞟) (2012) 䛄ክ䜢ぢ䜛䛯䜑䛻ẖᮅ൅䛿┠ぬ䜑䜛䛾䛷䛩䠖ᮧୖ᫓ᶞ䜲䞁䝍䝡䝳䞊㞟 1997-2011䛅ᩥⱁ᫓⛅♫ᮧୖ᫓ᶞ (2013) 䛄Ⰽᙬ䜢ᣢ䛯䛺䛔ከᓮ䛴䛟䜛䛸, ᙼ䛾ᕠ♩䛾ᖺ䛅ᩥⱁ᫓⛅♫ᮧୖ᫓ᶞ (2014a) 䛄䝣䝷䝙䞊䛸䝈䞊䜲䛅᪂₻♫ᮧୖ᫓ᶞ (2014b) 䛄䛣䜣䛺䛻㠃ⓑ䛔ヰ䛰䛳䛯䜣䛰!䛅᪂₻♫ᮧୖ᫓ᶞ䞉ᰘ⏣ඖᖾ (2000) 䛄⩻ヂኪヰ䛅ᩥⱁ᫓⛅♫ᮧୖ᫓ᶞ䞉ᰘ⏣ඖᖾ (2003) 䛄⩻ヂኪヰ 2: 䝃䝸䞁䝆䝱䠉ᡓグ䛅ᩥⱁ᫓⛅♫ᒣᒸὒ୍ (2002) 䛂ฟ∧䛾⌧≧䠖䜖䛳䛟䜚䛸㟼䛛䛻㐍䜐䝟䝙䝑䜽䛃 䛄⩻ヂ㏻ಙ䛅 2, 5.
Ἔ஭ᜨ (2007) 䛂᪥ᮏㄒ䛚䜘䜃ⱥㄒ䛻䛚䛡䜛ᑐ⛠モ䛾ᶵ⬟: 䝫䝷䜲䝖䝛䝇䛸䛾㛵㐃ᛶ䛃 䛄㥴Ἑྎ኱Ꮫㄽྀ䛅 33: 19-30.
ྜྷᒸἨ⨾ (2012) 䛂F. Scott Fit zgerald 'The Great Gat sby' 䛻䛚䛡䜛㔝ᓮᏕ䚸ᮧୖ᫓ᶞ䚸ᑠᕝ㧗⩏䛻䜘䜛᪥ᮏㄒヂẚ㍑ศᯒ: ᑠᕝ㧗⩏䛾⩻ヂ䝇䝖䝷䝔䝆䞊䛻䛚䛡䜛᪂つᛶ䛻╔┠䛧䛶 䛃
䛄Keio SFC Journal䛅. [online]: http://gakkai.sfc.keio.ac.jp/show_pdf/ORF2012 -01.pdf(accessed 01/04/2014).

201
201

䛄㏻ヂ⩻ヂ◊✲䛅ྕ  

202
202