西村賢太《芝公園六角堂跡》－－以作家形象的問題為中心－－

Nishimura Kenta’s Shibakoen Rokkakudo Ruins: Focusing on the Image of the Artist

西村賢太是現代日本文學中少見的私小說作家。在他的私小說作品中，作家本身視為「特別之作」的是西村賢太（2017）《芝公園六角堂跡》。《芝公園六角堂跡》一書收錄的短篇私小說；除了〈芝公園六角堂跡〉以外，還有〈不能結束的夜晚彼方〉、〈深更的巡禮〉及〈十二月哭泣〉共四篇。其中特別受注目的是〈芝公園六角堂跡〉及〈不能結束的夜晚彼方〉。本論文以《芝公園六角堂跡》所收的兩篇作品〈芝公園六角堂跡〉及〈不能結束的夜晚彼方〉為對象，透過與初期代表性作品〈終究難免一死之舞）（2005）的比較，明確指出兩者的差別以外，並且探討西村賢太的作家形象問題。

Kenta Nishimura was a rare I-novel writer in contemporary Japanese literature. Among his I-novel works, Kenta Nishimura (2017) Shibakoen Rokkakudo Ruins is what the author himself called “a special work”. The collection of short stories Shibakoen Rokkakudo Ruins contains not only “Shibakoen Rokkakudo Ruins” but also three short stories: “Beyond the Unfinished Night”, “Midnight Pilgrimage”, and “Crying in December”, but the most noteworthy are “Shibakoen Rokkakudo Ruins” and “Beyond the Endless Night”. This article will focus on “Shibakoen Rokkakudo Ruins” and “Beyond the Unfinished Night” from Shibakoen Rokkakudo Ruins and compare them with Nishimura’s early representative work “A Dance of the Man Who Surely Dies” (2005). I clarify the difference between “Shibakoen Rokkakudo Ruins”, “Beyond the Unfinished Night” and “A Dance of the Man Who Surely Dies”, and at the same time add consideration to the problem of Kenta Nishimura's image as an artist.