@article{oai:twcu.repo.nii.ac.jp:00017576,
 author = {江口, 裕子},
 journal = {東京女子大學附屬比較文化研究所紀要},
 month = {Jun},
 note = {Ryunosuke Akutagawa once said that among all writers Baudelaire and Poe were the ones who had the greatest influence upon him, whether it was good or bad. The comparative study of Akutagawa and Poe will make clear that thay show striking similarities in their artistic viewpoints, in their choice of subject matter, and in their preoccupation with technique. It will also testify that the former learned a good deal from the latter, mainly from his aesthetic theory and his method of constructing a story. Both writers were skillful artists; both were devoted to a quest for beauty and the creation of an ideal beauty. As shortrstory writers, they show a romantic inclination in their preference for ancient times, exotic settings, and for strange, fantastic or mysterious events: besides, the realms beyond everyday life and normal experience - death, insanity, dual personality and abnormal psychology are their common concerns. Akutagawa's indebtedness to Poe was, however, not for subject matter but for style and method of expression. Like Poe, he was endowed not only with the poe's fine sensibility and keen sense of beauty but also with the critic's analytical intellect, which made him constantly explore appropriate means of expression. Both were preoccupied with the problems of form - plot, structure, language, brevity, novelty, mood or tone, and a single dominant effect. Like Poe, Akutagawa put far less emphasis upon the ideological or the didactic aspect of literature than upon the purely aesthetic aspect, on the ground that beauty is its own excuse for being! nevertheless, unlike Poe, he seems to have a warm interest in the people about him, and in various human affairs. With the pride of a conscious artist, the young Akutagawa boasted that a work of art should be composed solely with self-conscious technique. Like Poe, he denied inspiration and tried to keep his art under the control of intellect. In his later years, however, he came to realize that he could not be, after all, a truly creative artist without the aid of that divine, powerful inner drive which works in the writer's unconscious self and which often becomes the source of immortal beauty and power in an artistic creation.},
 pages = {1--21},
 title = {芥川龍之介とエドガア・ポオ : 芸術観と意識的制作},
 volume = {15},
 year = {1963}
}