@article{oai:nagoya.repo.nii.ac.jp:00029281,
 author = {生方, 智子 and Ubukata, Tomoko},
 journal = {JunCture : 超域的日本文化研究},
 month = {Mar},
 note = {Recently, researchers have argued that Japanese modernist writers produced reality in novels by trying to represent the act of viewing. For examples, Karatani Kojin has argued that the representation of viewing in Wasureenu Hitobito by Kunikida Doppo sketches the lonely inner world of individuals who are looking at a landscape. Additionally, the representations of viewing in Hakai by Shimazaki Toson are based on painting methodology. In Hakai, Toson describes an individual looking at a landscape in terms of the representation of viewing. Similar methods can be observed in paintings using naturalist perspective. The descriptions of individuals looking at landscapes by their point of view become shape the rules of representing reality. These viewing individuals are the modern subjects that novels are trying to represent. However, writing about cinematic experiences in novels disrupts the rules of modernity. In Aotsuka-shi no Hanashi, Tanizaki Jun'ichiro proposes that individual cinematic experiences undermine the common experience of viewing. Individual cinematic experiences arouse sexual desire. Because that desires destroys the rules of modernity, as a result, the individual does not exist as a subject of modernity. This text sheds light on how the cinematic experience reorganizes the rules of reality and transforms the subject of modernity.},
 pages = {66--74},
 title = {映像体験という情動 : 谷崎潤一郎『青塚氏の話』},
 volume = {2},
 year = {2011}
}