Junichiro Tanizaki is a unique and unprecedented writer in the history of modern Japanese literature. There are numerous reasons behind that, but this study focused on his critical attitude towards the contemporary age observed in his works. Of course, any literature in any age plays a role of criticizing the contemporary age, but in the case of Tanizaki, it is noteworthy that he was a writer who dealt with a material called ‘deviation’ for all his life.
Deviation, as a different concept from breakaway, was a quite intentional and challenging literary task for Tanizaki. This study first focused on one of his works, Naomi (Chijin no Ai), to examine the meaning of 'deviation' observed throughout his works. The reason why his works were overlooked by the literary world was that he 'deviated' from the mainstream so-called pure literature. This can be analyzed by contextualizing deviation of characters in Naomi as follows.
That is, the utopia and dystopia strategy created by contextualizing deviation in Naomi (Chijin no Ai) can be interpreted as his way to imply the tragedy of life within comical elements. In addition, the reason why this type of literature is meaningful is that they remind us of the philosophical question that is not answered - humans are unknowable.
谷崎潤一郎は同時代の文学について批判的な姿勢を貫いてきた。特に、谷崎は「逸脱」という方法を通して、同時代の脈絡と拮抗する緊張関係を作り出している。この論では逸脱の脈絡化と再脈絡化の概念を使い分析を試みた。 逸脱とは脱皮や逃避とは異なる概念で、谷崎文学においては戦略的な課題であったと考えられる。分析対象である『痴人の愛』は近代性を逸脱することでユートピアとディストピアの世界の雑種性の脈略を秩序づけている。そこには家庭、女学生、西洋、文化住宅のような文脈が戯画化され、ユートピア世界を目指すようなパロディの世界が繰り広げられる。 谷崎文学は近代が均質性の自明性によって裁断されることに対して拒否する。女学生という近代の精神を元にするイメージに対して身体性の脈略化を試みるのも同じ原理によるものであろう。そこには近代の家庭や西洋的近代も同じく、ミラーリングの脈絡と再脈絡の対象に他ならない。