《黃昏之雲》裡所呈現的 「非日常化」－莊野潤三所建立的文學風格

The Defamiliarization of ''YU-BE NO KUMO'': The Style that Sho-no Junzo Has Established

在文學史上，莊野潤三被歸類為所謂「第三的新人」的代表性作家之一。《黃昏之雲》不但是他的代表作，也被認為是戰後日本文學的重要作品之一，評價很高。但有點奇怪的是對該作品的「解讀」兩極化。產生之所以這樣的「解讀」差異，是因為存在著一個問題。本人認為這個問題就是「《黃昏之雲》與《靜物》之間是否有關連性？」。本論文除了整理其他有關研究論文的重點之外，以《黃昏之雲》裡的一章「很大的甕」為例，從Виктор Борисович Шкловский所提倡的「非日常化」或「異化」的觀點來加以分析，並想證明作者寫作這篇《黃昏之雲》的目的在於建立一種文學風格本身，而《黃昏之雲》應該是與《靜物》分開討論才對的作品。

In Modern Japanese Literature, Sho-no Junzo is a representative writer of 'DAI SAN NO SINJIN'. ”YU-BE NO KUMO” is not only the most important work to him, and a masterpiece of Modern Japanese Literature, but the reading of this work has both extremes.Why did this work make the diffsrence of reading? I think, there is a problem that ”YU-BE NO KUMO” is connected with ”SEIBUTSU”, or not?This paper that readjusts other papers about ”YU-BE NO KUMO”, and deals with Chapter 'OOKINA-KAME' for example, analyzes this work from the point of view of The defamiliarization that Виктор Борисович Шкловский has put forward, improve Sho-no Junzo's purpose that wrote ”YU-BE NO KUMO” is to establish his style, we should, and we should separate ”YU-BE NO KUMO” from ”SEIBUTSU”.