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A Study on Edogawa Ranpo’s early works


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As Edogawa Ranpo’s work was published in the application year as a creative novel, 1923 is remembered as an indispensable year in the history of Japanese creative mystery novels. It is no exaggeration to say that there were mystery novels in popular literature magazines, but in most cases, there were many works that were read and discarded because the composition of the works was crude, the characters were sparse, and the sanctions were so popular. In such a situation, the appearance of Ranpo would have served as a refreshing agent like rain in a drought. At that time, at a relatively late age, Edogawa Ranpo appeared like a comet under the pen name of a pun and published many hot topics, but over time, the early witty and challenging fresh materials were depleted faster than expected, and by the time he reached an age of doubt, he was branded as a representative writer of Eroticism and Grotesquery. Perhaps it is related to the dreamy, erotic material and gothic atmosphere, which are somewhat different from the early styles, but considering the impact of his works on general popular culture in the process of being consumed as media content such as movies, TV, and radio, I think Ranpo’s achievement is somewhat negative. Moreover, it should not be overlooked that his mystery novel has a unique location and historical achievement that divides Japanese mystery paragraphs before and after Ranpo, and is still loved by the general public to the extent that it is constantly reproduced and reinterpreted through video media as well as general research. Therefore, I would like to analyze the works of the early Ranpo period, which received enthusiastic support and support from mystery writers and readers, focusing on “Exploration of Human Psychology”, “Intellectual Play”, and “The Pursuit of Honkaku Detective Story”, which he was very interested in and played a decisive role in the early works. Specifically, this study tried to find out the unique value of Ranpo’s detective story 「Dzakanosatsujinjiken」, 「Shinrishiken」, and 「Yanenouranosanposya」 in the early days of Ranpo’s works.


江戸川乱歩は1923年デビュー以来、次々と話題作を発表し日本の探偵小説文壇の 新たな地平を拓いた作家である。当時としはわりと遅いデビューだった乱歩は日本探 偵小説界に新しい山脈を形成しながら旺盛に執筆活動したが、時間が経つにつれ初期 の才気に満ち、挑戦的だった新鮮な素材は思ったより早く枯渇していった。乱歩が40 歳を越えた頃には純文学作家たちから猛烈な批難とともにエロ・グロ作家の第一人者 として烙印されてしまう羽目にもなった。 おそらく、初期の作品とはうって変わった夢幻的でエロチックな作風とゴシック な雰囲気に深く関わってくると思われるが、乱歩の作品が映画やテレビなど映像メ ディア・コンテンツとして消費される過程において一般大衆文化に及ぼした影響をも 考慮にいれれば乱歩が成し遂げた成果が多少期待に及ばぬ評価に留まるのは非常に残 念であり、再考の余地も充分あると思う。 さらに、彼のミステリー小説は日本のミステリー文壇を乱歩以前と以後とに分け るほど不動の位置と歴史的業績を有していて今までも一般研究は勿論のこと、映像コ ンテンツを介して途絶えることなく再生産、再解釈されているほど一般大衆から愛さ れ続けていることを看過してはいけない。 そこで、本稿では、推理文壇と読者から熱烈な声援と支持を受け続いてきた乱歩 の初期作品を対象にし、彼が並ならぬ熱情をもち、また初期作品の随所に創作の理由 と方法として決定的な機能を果たした<心理的に人の心の奥底を見抜く探偵法>と <知的遊戯>、そして<本格探偵小説の追求>に重点を置いて分析してみた。 具体的には、デビュー早々の「二銭銅貨」、「D坂の殺人事件」、「心理試験」、「屋根 の裏の散歩者」など、4作品を取り上げ、各作品ごとに内在している<本格探偵小説> の用件を充足する周到綿密な戦略とともに執拗なまで日本独特の<本格探偵小説>に 拘った乱歩の探偵小説作法への模索を考察することで乱歩が辿り着いた探偵小説の不 思議な世界を探ってみた。


1. 서론
2. 이전동화(암호풀의의 지적유희)
3. D언덕의 살인사건(아케치코고로의 등장)
4. 심리시험(심리를 꿰뚫는 추리 방법)
5. 지붕 속의 산책자(본격 미스터리의 완성)
6. 결론



  • 신현태 Shin, HyunTae. 상명대학교 소프트웨어 융합학부 한일문화콘텐츠전공 부교수, 일본근현대문학


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