Abstract

This article offers a counterpoint to the predominantly sociological analyses of Edogawa Rampo (1894–1965) by tracing the speculative philosophy of perversion that emerges in his early corpus, notably in the two short stories “Osei tōjō” (1926) and “Yaneura no sanposha” (1925). It adopts Yokoo Tadanori’s concept of claustrophilia to argue that Rampo, akin to the Surrealists who were his contemporaries, sought a bridge to the unconscious drives that lay behind modern sexuality. This appears most clearly in Rampo’s literary works that employ the closet (oshi’ire) as an enclosure for self-contemplation and fantasy, as well as a stage for desire to emerge and achieve realization. The article further contextualizes Rampo’s role in the prewar debates defending so-called “deviant” (henkaku) detective fiction against the ratiocinative norms of the genre championed by fellow detective fiction writers such as Kōga Saburō and Hirabayashi Hatsunosuke.

摘要

本文通过追溯江户川乱步 (1894-1965) 早期语料库中出现的关于变态的思辨哲学，特别是在两篇短篇小说“Osei tōjō”（1926 年）和“Yaneura no sanposha ”（1925 年）。它采用 Yokoo Tadanori 的幽闭症概念来论证 Rampo 类似于他同时代的超现实主义者，寻求一座通往现代性背后的无意识驱动力的桥梁。这在兰波的文学作品中表现得最为明显，这些作品将壁橱（oshi'ire）用作自我沉思和幻想的围栏，以及渴望出现和实现的舞台。这篇文章进一步将兰波在为所谓的“越轨者”（henkaku）辩护的战前辩论中的角色背景化) 与高贺三郎和平林初之助等侦探小说作家所倡导的推理小说类型相悖的侦探小说。