@article{oai:nagoya.repo.nii.ac.jp:00029063,
 author = {暢, 雁 and Chang, Yan},
 journal = {JunCture : 超域的日本文化研究},
 month = {Mar},
 note = {Haruo Sato’s novel Gloom in the Country is a story about an urban youth who, in a quest for peace of mind, decides to immigrate to a village that is encircled by big cities. Things do not go as the protagonist had hoped, however, and in the end, the young man is unable to heal his spirit afflicted by the clamor of the metropolis around him and continues to sink into a deep gloom. Most of the previous research regarding this novel has examined it as a typical work of decadent literature belonging to the Taisho Period and has included it into the larger genealogy of decadent literature that encompasses literary works of the West. This paper, however, interprets how the innate character of the decadence in this novel, differs from and, in some respects, even opposes the one found in the Western literature by taking Joris- Karl Huysmans’s À rebours as a representative of the latter. Then, based on the conclusion that the decadence of the West, as well as that of the late Meiji period, embody the spirit of modernism, which is progressive and innovative as a whole, a textual analysis of this paper reveals that although the decadence of the Taisho Period reflected in Gloom in the Country is phenomenally similar to the decadence of the West, the essence of the former is an expression of nostalgia for a glorified bygone era and a passive escapism from the status quo.},
 pages = {90--100},
 title = {「彼」のデカダンとは何か : 佐藤春夫「田園の憂鬱」再考},
 volume = {7},
 year = {2016}
}