@article{oai:nagoya.repo.nii.ac.jp:02002400,
 author = {金子, 聖奈 and KANEKO, Sena},
 journal = {JunCture : 超域的日本文化研究},
 month = {Mar},
 note = {This paper examines the female writer Ōishi Chiyoko and approaches her novels through her ambivalent position as a “Japanese national” and a “woman” within a male-centered context. Ōishi’s 1939 novel Benguet Emigrants depicts Japanese emigrants engaged in road construction in Benguet, the Philippines around 1903. Although the novel was a candidate for the Akutagawa Prize, it was criticized for its ethnocentricity, and since then, Ōishi has been ill-received because she was believed to have contributed to nationalism. On the other hand, research to date has not addressed her postwar work, in which she portrayed the pain of being a “woman” and “wife” suppressed under the patriarchy. In this paper, I focus on this change of theme from pre- to post-WWII, and seek to reevaluate Ōishi’s image as an author through an analysis of Orin, a “Karayuki-san” (a name for Japanese prostitutes working abroad in Asian countries) who appears in Benguet Emigrants. In Benguet Emigrants, the character Orin represents a “Karayuki-san.” She threatens the homosociality of male Japanese emigrants by her lively talk. However, she is not recognized as a “Japanese national,” even as she is exploited for the purpose of colonial expansion. In order to self-approve themselves as “Japanese nationals,” Japanese male emigrants equate an accidental death in Benguet to a death in battle in the Russo-Japanese War, which results in Orin’s voice being excluded from the domain of the “nation” and even the “human.” By the end of the story, male Japanese emigrants acquire self-approval as a “national” through a strong sense of masculinity, but Orin unnaturally disappears from the story. Through the above analysis, this essay positions Orin as a notable character who makes the male-centered aspect of “Japanese nationals” visible and palpable. Unlike Orin who is exploited by the “national,” the author Ōishi Chiyoko belongs to the “national” as a prominent writer among the contemporary literary circle. Another reason that Ōishi has been positioned as nationalistic writer is because the novel holds a colonial perspective over the Philippines. However, Orin’s ability to speak her mind is entrusted with Ōishi’s hopes for a freedom of expression.},
 pages = {138--149},
 title = {物語に結像しない「女」 : 大石千代子『ベンゲット移民』をめぐって},
 volume = {13},
 year = {2022}
}