{"created":"2023-05-15T13:45:01.143354+00:00","id":537,"links":{},"metadata":{"_buckets":{"deposit":"439345f0-7bac-4e1b-98dc-f096b70ed375"},"_deposit":{"created_by":31,"id":"537","owners":[31],"pid":{"revision_id":0,"type":"depid","value":"537"},"status":"published"},"_oai":{"id":"oai:nichibun.repo.nii.ac.jp:00000537","sets":["192:205"]},"author_link":["19552","19551"],"item_5_alternative_title_20":{"attribute_name":"その他の言語のタイトル","attribute_value_mlt":[{"subitem_alternative_title":"The War Poetry of Yone Noguchi : Declaration of War (1942) and Congratulations on the \"Hakkou-ichi-u\" (1944)","subitem_alternative_title_language":"en"}]},"item_5_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2008-09-30","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"219","bibliographicPageStart":"187","bibliographicVolumeNumber":"38","bibliographic_titles":[{"bibliographic_title":"日本研究","bibliographic_titleLang":"ja"}]}]},"item_5_description_4":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"　野口米次郎が「戦争詩」を書いた事実は、野口自身や彼の日本語詩歌に対する否定的評価を決定づけてきた。「戦争詩」に、犯罪性や「声の暴力性」の所在、政治プロパガンダの有効性をみる方法は、長く頻繁に行われてきたことである。「戦争詩」が量産された時代は、戦争の時代と重なり、ラジオ普及の時代と重なっている。確かに新メディアと戦時期詩歌の相関関係といった視点から考えれば、「声の暴力性」や政治性が濃厚に表出し、決まり切った語句の羅列に過ぎない「屑詩」しか拾えないのは事実だが、それらがその時代の、その詩人の表現の、総体ではない。現在使われている「戦争詩」という用語には、当時「愛国詩」「国民詩」「戦争詩」と使い分けられていたものを一括している問題があり、また、当時の詩人たちが戦時期詩歌に担わせようとしていたいくつかの役割やその諸議論、そして検閲の表現規制の中で「抵抗」を示そうとした詩人たちの姿を無視してきた事実がある。\n　本稿では、野口米次郎の知られている側面と知られていない側面をいくつか具体的に考察してみたい。つまり、ラジオ放送や国策宣撫に関与した面と、それに抵抗を示す詩を書いて「削除処分」を受けたり、若いアナーキストから賞賛されていたりするという面である。敗戦後GHQに没収されることになる『宣戦布告』と『八紘頌一百集』を中心にして、野口がそこに何を表現したのか、「声の権力者」の抱えた両義性と矛盾とを、解明する。","subitem_description_language":"ja","subitem_description_type":"Abstract"}]},"item_5_full_name_3":{"attribute_name":"著者別名","attribute_value_mlt":[{"nameIdentifiers":[{"nameIdentifier":"19552","nameIdentifierScheme":"WEKO"}],"names":[{"name":"HORI, 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