ࡱ> "Root EntryRoot EntryFileHeaderDocInfo*,HwpSummaryInformation.  !$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~BodyText DocOptions ScriptsJScriptVersionDefaultJScript _LinkDoc Section0#v `a``a`0x  ` l x010|mP€2011D 5 2| Ɣ| $ 1:57:39user9, 0, 0, 1397 WIN32LEWindows_7@u@@Bat GulimaBatanga4 D E @(lH x8x8BC 1. 䴴p D $E @R,|4BC 2 1923D 0ݹx`(*gNN֊)0 D &%*E @R,|4BC 3. |@ ݹx D $E @( R,|4BC 4. ݹxX  < D X ` D )$E @<R,|4H {8{8BD )E @R,|4BC 5.  ݹx , 1 D '(E @R,|4BC 6. |ŤȲ@ ݹx D $E @( R,|4BC 7. p D $E @<R,|4BD $E @PR,|4B8C Key Words|(the Second Sino-Japanese war), | xT D  6E@#NxvBQC (Nobuco Yoshiya), ȀX (SHUFUNOTOMO), ݹxSensoumiboujin(war widow), 1(women) D734$5FESDxv>#WxvBC` D -E@\LLxvBC@ D E@cLLxvBC1. 䴴p D E@jQxvBDE@slxvB C7 1947D 5 )貴X 0tt, m ݹx 188̹ 3,890  ݹxX ” 56̹ 6,405<\, 30% \[e]}P[(2005) 0 il0Wh0&bNN0 T]_e(0p.156]. |̹ XT|ij 4̹ X Ȭ XՔ p, 1@ ֬,  X  ݹx t. 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DEԟlxv(lxvOlxvwlxvlxv lxvlxvB0CF Tϔ @ DȲ̹ X D Dt ȹLX D X 䲔 ,X йD \. \  Ȁ0 $Ɣ X ǵȲ(K0m0f0`o0W0f0J00~0W0_0) | ;tаp, T| . Tϔ йt ݹxX ,x йt|p 8X й\.   X Ŕ t Ȭ(&bX), Ȭ(&b{k), ݹx(*gNN)t| йt 4Xp |T . A ¬ L0(Ą_j)X Tܴ| y, pp.74-75 D E @xvG onta)B C! 1931D ̹ȬD ‘<\ 15D x\ X Ȭǔ px, pt 230̹ , ȬX iĬ 310̹ , 1947D Ĭ XXt ݹx@ 188̹ 4̅ nf tx.  X yOxvzy}00,{S0e,gsYP[ D E xv3xvG onta)B C  'Yf['Yf[b0N>yOxvzy, p.124 D E @( xvB ƈCD 1939D 7ƀ0 0ȀX 0(1939D7<"1940D12) | xTϔ 0ݹx 0t Ŭ\. 0ݹx 0 20X @ ݹx Ĕ(YN) ŐptX ޹ 0|  ̹  ptX ޹ t < \ӈ| X 䬀\ ɽ `. <ֈଔ t JŔ s xƨX ĔƔ t Š\ HD x @ D̲ q\. Ŭ Ѕx ޹ ptX <\ H1޹t|p ĔƔ  y, p.710 D E @xvG onta )BDE@lxvBDE@lxvBC5.  ݹx , 1 DE@dQxvBDE@lxvB ˈC`5 0Ŕ @  ݹx Ō 1@ Š\ `D l1X ǔ| ଐ \. 1938D 10,  Ȱ(&bk)px q \ 8(cw) ̹D 0\䲔 )h DŘ, ݹx \ E t lt @ \D \ Et $ . tǔ  < `ij ٳ `  . |X $ 0ݹx 0 tpDեPX ݹxt | Ȕ q D XX @  < D ɹ X՘X |  . t\ q t ݹxX  < D ɹ, X | ޹t @| !XՔ ĒD Ɍ . ݹxq@ ݹx @\ l1 q<\ y D<E@xxvB$C NΑCSP[(2012) 00000000h00000%eHr00\lf^ D<E@!xxvB(C\Αx^_l(2004)0 0ASNt^&bNh0sY'` 000sY_0a0n0&bNN00qgNXQHr D<E@'xxvB'CGrΑwPOP[(2003)0vTn0яN0NJ>y000 p.166-168 8p D<E@-xxvB$CR }[}N(1995) 0sY_0a0n0&bN000000QHrO p.76 D<E@3xxvB-CK\[(1937.12) 0N Yk0QY00sY'`n0` 00fZNlQ֊0-N.YlQ֊e>y p.46 D<E@9xxvB!C ŃaP[(2011)0sYL0V[0ψR0h0M00\lf^ p.233 D<E@?xxvB%C]Su`P[(2003) 0&bN*gNN0[h0R[n0o0U0~0g00 000QHr D<E@ExxvB"C@ŃaP[ 01 Rf002006t^1g13e e%fyr%RS,0000b D<E@KxxvB)C ŃaP[(2011) 0sYL0V[0ψR0h0M00sYf[u0NI0 TK\OP[000\lf^ D<E@QxxvBCSl N(2000)00&b_n0Qzv00R(gf^ D<E@WxxvB"C@ҙ:\U(1994)00 TK\OP[ 000000000000000 D<E@]xxvBC iΑ܃(2007) 0000P00W00 fwf^ D<E@cxxvBC@\q_v(1937) 0&bNh0d00'YqgNQHr>y D<E@ixxvBCCSN0ufP[(2010) 0&bN*gNNn0NLu0 R4lf?b D<E@oxxvB!C 2ENP[(2004) 000000g00e,g?el00 gexf D<E@uxxvBCJSN)R(2013)00B0n0&bNh0e,gN00e%fe^ D<E@{xxvB+C`8RN(2000) 0&bk[fZyr%RYeT b@bn0-z 00SwmS'Yf[Yef[}0 D<E@xxvBC@ SwmS'Yf[Yef[ D<E@xxvB#C`䅟S p_(1982)00-fTn0tkS0e-NhQb&bN0,{5], \f[( D<E@xxvBC TK\OP[(1939) 0*gNN 0 0;NfZKNS0 ;NfZKNS>y D<E@xxvB!C Qh0i00(2000)00&bNL0d0O00sY'`P00a0O0~0f[e^ D<E@~xxvB%C!noP[(2000) 0&bNh0sY'` 000'YqgeS'Yf[}00'YqgeS'Yf[ D<E@zxxvBCNU\ga(1978) 0sYh0)jR0 s^Q>y D<E@vxxvB C, $(2004) 0mX@ 110 Dt7 D<E@rxxvB/C$ DtT (2009) 1 0 |X T tp,\000 D<E@nxxvB C$tٳ x(2006) 0| }ǔ10 ŬDӬ D<E@xxvB0C@t@ ij L(2007), tmYP Y |8TַŴY .@ 0iX D<E@xxvBC 0  D<E@ xxvB.C\|1ٳŬP ,ƌ(2005) 01X <\ \| 0 \ո D<E@xxvBD!E@xxvBDAE@lxvBDAE@$lxvBDE@+RXxvB C`<abstract> DE@1RXxvBDE@8RXxvBDE@X>RXxvB:C@ A Study on the Discourse of "Sensoumiboujin(war widow)" D:9.E@DxvBDE@LxvBDE@QxvBC>Yoshiya is a writer who enjoyed overwhelming popularity among young girls from the Daisho Period to the Showa Period with her work  The Flower Tales (1916-1926). It can also be said that she formed a solid base of female readers with her subsequent publications of series novels such as  The Friendship of Women (1933-1934) and  The Girls Classroom (1939). She immersed herself in  women s tales through this process and played the role of building and strengthening a  community only for women. D9EXWxvD\xvbxv8hxv mxvhxsxvyxvBC3In April, 1937, at the height of her popularity, Yoshiya paid a visit to northern China, as the  The Homemaker s Friend. Royal Army Special Correspondent, a battlefield inspector, and Japan s premiere female author. The following year, she was recruited along with 21 others by the  pen squad, and published many works while deeply involved in the war. Yoshiya s novel  The Widow was born during this time. D9E ~xvIXxvxvxv!8xveؚxvB  CaIn the previous study, we analyzed the direction in which the  widow discourse unfolded in the  Record of the Sino-Japanese War. Initially, in the early 1930s, the  widows were encouraged to remarry. But as war casualties mounted after 1937, the widows were urged to make a double sacrifice - their own in addition to their husbands sacrifices on the battlefield  under the argument that  since their husbands sacrificed themselves for the country, the widows should sacrifice themselves as well by bringing up honorable children. ( The Wife s Friend , October 1939) Moreover, it was argued  a loyal wife does not serve two husbands. (The Women s Times, July 17, 1938) As remarriage began to be viewed in a negative fashion, even the very word  remarriage became taboo. D9ExxvFxvxvXxvxvexv@ xvxv?xv xv!xvB COA  war widow was  someone who should have died along with her husband but did not. Thus, a  war widow could not exist without her husband. Their sexuality was already blocked. In connection with this, the anti-remarriage argument for the widows gave assurance to their husbands on the front line and at the same time restricted women s sexuality, through an emphasis on the  war widow and her maternal instinct. This process clearly demonstrates the transfer of the bodies of these  war widows from management as the husbands property to management as the state s property, all within the sphere of the influence of nationalism. D9E@`'xv?-xv2xv@8xv=xvlCxv IxvNxv>`TxvB  C@aMeanwhile,  Shining Meeting (The Homemaker s Friend. May 1941) on the cover of a magazine features a picture of a woman, with a young boy in her arms and a young girl at her side, praying at the Yasukuni Shrine. It would be proper to label this a symbolic representation of  Yasukuni and the  war widow. It would be fair to say that Yoshiya s literature, which helped form a community of destiny, transformed her female reader into the novels main characters before the reader could even realize or sense it. Or at least it risked doing so. Her literature with its numerous female readers can be said to have performed the role of changing and enlightening the reader as the ultimate widow or  war widow, as the media of that era stressed  correction through reading. D9EZxvB_xv@exvjxv#pxvl vxv{xv`xvSxvxv@xvBDE@RXxvBDE@ RXxvBDE@`RXxvBDE@RXxvBC<> D0E@RXxvB C@  DE@xvB C| ݹx D/1 2E@LL(xvB!C  ,   DE@ xvBDE@xxvBRC@* < l  ݹx `t |0(-Ne&bNg) Š\ )1D   ǔ| . 1930D  X  ݹx X <@ 1937D0 Ȭ(&b{k) XՔ p,  t m| t l0 L8 ݹx ij lt mXՌ Dt(zPQ)D |\ (0xX 0 1939t^10g) |p\, X l ݹxX lD pXp ݹxŌ tX lD X .   @(sY) P D ,0 JŔ (0@80 1938t^7g17e)