AbstractNovelist Nakagawa Yoichi (1897－1994) had a series of debates known as Keishikishugi−Bungaku−Ronsou (Formalist Literary Debates) with Marxist critics between 1929 and 1930．The issue at stake was whether or not art is an ideological device for class struggle. With this debate in mind, one of the main characters' setback and restart in Nakagawa's novel Sushiki−no Haitta−Ren'aishi (A Love Poem that Contains a Numerical Formula) seem to allegorically show the possibilities and limitations of his art theory. In this paper, through an analysis of this novel, I examine the prototype of the art theory that Nakagawa would later call Guzenron (accidentalism). This paper also looks at how Nakagawa's knowledge of Einstein's theory of relativity and principles of quantum mechanics, such as Heisenberg's uncertainty principle, affected his art theory.
Departmental Bulletin Paper
鳴門教育大学研究紀要, 32 pp.322- 332