エロ事師たち
The
Pornographers, EROGOTO-SHI-TACHI, 1966
☆『エロ事師たち』（エロごとしたち）は、野坂昭如の長編小説。当時33歳の野坂の小説家と しての処女作で、文学的にも高い評価を受けた代表作でもある。世 の男どもの「エロ」を満たすため法網を潜り、あらゆる享楽の趣向を凝らし提供することを使命とする中年男の物語。「エロ事師」を取り巻く世界のどこか滑稽 でグロテスクな様や猥雑な現実を、哀愁ただよう苛烈なユーモアと古典文芸的リズムの文体で綴りながら、エロティシズムの観念をアイロニックに描いている。
| 『エロ事師たち』（エロごとしたち）は、野坂昭如の長編小説。当時33歳の野坂の小説家と
しての処女作で、文学的にも高い評価を受けた代表作でもある。世の男どもの「エロ」を満たすため法網を潜り、あらゆる享楽の趣向を凝らし提供することを使
命とする中年男の物語。「エロ事師」を取り巻く世界のどこか滑稽でグロテスクな様や猥雑な現実を、哀愁ただよう苛烈なユーモアと古典文芸的リズムの文体で
綴りながら、エロティシズムの観念をアイロニックに描いている[1]。 1963年（昭和38年）、雑誌『小説中央公論』11月号から12月号に2回連載された。三島由紀夫に激賞され、その後出版社の依頼で長編化させたもの が、1966年（昭和41年）3月10日に講談社より単行本刊行された。文庫版は新潮文庫で刊行されている。翻訳版はマイケル ギャラガー訳（英題：The Pornographers）で行われている。なお、雑誌連載時の初稿版は『野坂昭如コレクション 1』に収録されている。単行本刊行同年に、今村昌平監督で映画化もされた。 |
Erogoto-shi tachi (The
Eroticists) is a long novel by Akinori Nosaka. It was Nosaka's first
novel at the age of 33, and it is also his representative work that
received high literary acclaim. It is a story about a middle-aged man
who evades the law in order to satisfy the "erotic" desires of men, and
who devises and provides all kinds of pleasures. The novel depicts the
somewhat comical and grotesque aspects of the world surrounding the
"eroticists" and the sordid reality of their lives, while also
ironically portraying the concept of eroticism, using a style of
writing that combines a wistful, caustic sense of humor with a
classical literary rhythm[1]. It was serialized twice in the November and December 1963 issues of the magazine "Shosetsu Chūō Kōron". It was highly praised by Mishima Yukio, and later, at the request of the publisher, it was made into a full-length novel, which was published by Kodansha on March 10, 1966. A paperback edition was published by Shinchosha. A translation of the novel was published by Michael Gallagher (English title: The Pornographers). The first draft of the serialized version in the magazine is included in the "Nosaka Shōnyū Collection 1". The novel was also made into a film in the same year as the publication of the paperback edition, directed by Imamura Shohei. |
| 執筆動機・作品背景 野坂昭如は『エロ事師たち』について次のように説明している。 ぼくはオチンチンの小説を書きたいと考えて、「エロ事師たち」を書いた。これは決して男根、魔羅、玉茎の事ではなく、はかなくあわれなオチンチン小説であ り、スブやんはそれを本来の姿にもどすべく努力するドン・キホーテといえよう。 — 野坂昭如「あとがき」（『エロ事師たち』）[2] 舞台設定は、1962年（昭和37年）から1964年（昭和39年）暮までで、執筆年とほぼ重なり、主人公の年齢も当時の作者・野坂の年齢と近く、誕生日 が10月10日という点は同じになっている。主人公の住いとなっている守口市も、終戦時に野坂が住んでいたことのある地である。また、作中にブルーフィル ムや、トルコ風呂、白黒ショー、エロ写真、ゲイバーなど様々な昭和の風俗も織り込まれているが、野坂自身、趣味でブルーフィルムを蒐集し自宅で上映してい たり、ゲイバーでバーテンをしていた経験もあり、野坂の身近にいたブルーフィルムの業者などから見聞した裏社会の断面が作品に生かされている[3] [4]。また、主人公の母が神戸空襲で死んだ設定で、回想部で描写される戦火で死んだ人々のグロテスクな屍の目撃談など、空襲で養父を亡くした野坂自身の 戦争体験と重なる部分も見受けられる[5]。 主人公「スブやん」の名前は、当時野坂が引っ越したばかりの六本木の高層アパートの隣に住んでいた兼高かおるの母親が飼っていた狆の名前が「スブタ」だっ たことから、ヒントを得た[6]。なお、「恵子」という名前を主人公の義娘の名前に付けたのは、『火垂るの墓』のモデルとなった妹・恵子への思いがあった からだという[7]。 なお、『エロ事師たち』は三島由紀夫や吉行淳之介に推奨されたが、これについて野坂は71歳の時、阿川佐和子との座談で、吉行や三島が『エロ事師たち』を 認めてくれなかったら、自分はここにはいないと語っている[8]。 |
Motivation for writing /
Background to the work Akira Nosaka explains the background to "Erojishi-tachi" as follows I wrote "Erojishi-tachi" because I wanted to write a novel about penises. This is not a novel about penises, phalluses or testicles, but a novel about ephemeral and pitiful penises, and Subuya can be said to be a Don Quixote who strives to restore them to their original form. — Akira Nosaka, "Afterword" (Erojishi-tachi) [2] The story is set between 1962 and the end of 1964, which roughly coincides with the years when the book was written, and the age of the main character is similar to that of the author, Nosaka, at the time. The city of Moriguchi, where the main character lives, is also the same place where Nosaka lived at the end of the war. In addition, the novel also incorporates various Showa-era customs, such as blue films, Turkish baths, black-and-white shows, erotic photographs, and gay bars, and as Nosaka himself collected blue films as a hobby and screened them at home, and also had experience working as a bartender at a gay bar, the novel makes use of the insights he gained from the blue film industry and other people close to him into the underworld[3][4]. In addition, the main character's mother is set to have died in the Kobe air raid, and there are also parts that overlap with Nōsaka's own war experience of losing his foster father in an air raid, such as the eyewitness accounts of the grotesque corpses of people who died in the fire of war that are depicted in the flashback section[5]. The name of the main character "Subuya-yan" was inspired by the name of the Shiba Inu owned by the mother of Kaoru Kanetaka, who lived next door to the high-rise apartment building in Roppongi where Nosaka had just moved[6]. The reason he gave the name "Keiko" to the protagonist's stepdaughter was because he had feelings for his younger sister Keiko, who was the model for the character in Grave of the Fireflies[7]. In addition, although "Erojishi-tachi" was recommended by Yukio Mishima and Junnosuke Yoshiyuki, at the age of 71, in a round-table discussion with Sawako Agawa, Nosaka said that if Yoshiyuki and Mishima had not recognized "Erojishi-tachi", he would not be here today[8]. |
| 文体 『エロ事師たち』は「エロ」を描いているが、綴られる描写は、リアリズム描写の文学ではなく、物語の大半は大阪弁の会話と独特なリズムの文体で成り立ち、 この会話と地の文が互いに交錯するところに特徴がある[1]。これらのリズムは、日本の古典的な語り物文芸（軍記物、義太夫、浪花節など）の伝統に則って いるが、これは野坂が大阪の地元で自然と身についた、無意識の伝統が継承されているものと見られている[1]。また、その文章は、村松梢風の晩年の文章を 思わせるものもあり[9]、その文体やテーマが醸し出す作品世界は、井原西鶴や鶴屋南北などの江戸文学と共通するものがある[9]。 |
Literary style Erojishi-tachi depicts "eroticism", but the descriptions it contains are not realistic depictions of literature, and the majority of the story is made up of conversations in the Osaka dialect and a unique rhythmical literary style, with the characteristic of this being the point where the conversations and the text intermingle[1]. These rhythms follow the tradition of classical Japanese narrative literature (such as military chronicles, gidayu, and naniwabushi), but it is thought that this is a tradition that was unconsciously inherited by Nosaka, who acquired it naturally in his hometown of Osaka[1]. In addition, some of his writing is reminiscent of the writing of Muramatsu Shōfu in his later years,[9] and the world of his works, created by his writing style and themes, has something in common with the Edo literature of Ihara Saikaku and Tsuruya Nanboku,[9] etc. |
| あらすじ 滝井の床屋の二階に居候しているスブやんは、相棒の伴的の住むアパートの住人たちの性行為を盗聴したテープや、エロ写真を売ったり、売春斡旋まがいで女の 調達業を生業とする「エロ事師」である。スブやんは5年前にこの床屋の未亡人・お春と懇ろとなり、内縁関係となった。女房・お春は最近、肺を患い店は休み がちだった。お春には前の亭主との間に一人娘・恵子がいるが、スブやんは、ブルーフィルムの撮影のために恵子の高校の制服を拝借することもあった。エロ事 師の大半はヤクザと関わり合いがあるが、スブやんは以前サツに目をつけられた教訓から、ルートや顧客はあくまで自分で開拓した堅気の者を対象にし、女の調 達人やフィルムのモデルも素人を選んでいた。 翌年3月、お春が妊娠していたことが判ったが、衰弱した身のため翌月胎児は人工出産で中絶された。5か月だった胎児は、医者の勧めでスブやんが引き取り弔 うことになった。男の子だった胎児は、スブやんのエロ事師仲間の伴的、ゴキ（元帝国軍人）の3人により、山本山の海苔の缶に土と共に納められて淀川へ水葬 され、彼らに挙手の礼で送られた。ブルーフィルム製作が、カキヤという台本書きも加えて進む中、入院中のお春の肺の具合が悪化して死亡した。お春の棺を前 にした壁にブルーフィルムを映して、スブやんたちは供養した。 看護婦くずれのコールガールが以前勤めていたケチな六甲山麓の外科医が、別荘で変態ブルーフィルムを製作し所蔵していたことを知ったスブやんは、それを盗 みに行き、外科医の手下だった事務員・ポールもついでにエロ事師の仲間に引き入れた。その後、スブやんは、ゲイバーに行きたいという恵子とその友人たちを 遊びに連れて行ってやった帰り、恵子と男女の雰囲気となった。前からお互い何となく気があった2人は帰宅して結ばれそうになるが、土壇場でスブやんが不能 になってしまった。その翌朝、刑事がやって来て、スブやんは草分けからの顧客に売った変態フィルムの件で勾留された。なんとか誤魔化して12日でシャバに 戻ったスブやんだったが、恵子は家出していなかった。そこへ勾留所で知り合ったカボーがやって来て、居候することになった。カボーはTVタレント志望の男 前の青年で女はいくらでもナンパできたが、オナニーにしか興味のない童貞だった。 翌年もインポが治らないままのスブやんは、カボーやポールがナンパした女子大生や女店員らを活用して、会社の部長などのエロ客のニーズを答えるカラクリを 編み出しつつ、次第に足がつきやすいブルーフィルム販売から、大作を製作し会費制の上映会だけをしていた。やがてスブやんはフィルムには興味がなくなり、 乱交パーティーの主催をはじめた。撮影者の伴的は汚らしい醜悪な乱交にうんざりして、芸術的なフィルム製作を目指し、スブやんと袂を別つことになった。 ポールも伴的に付いたが、大量生産優先の商売人として伴的をこき使うようになったとゴキから噂を聞き、スブやんはポールの居所を、神戸の暴力団と親しい六 甲山麓の外科医に密告してやった。そんな折、スブやんは客の兼坂の伝手で手に入れた人造人間（ダッチワイフ）を、恵子に見立ててインポを治そうとするが、 留守の隙にカボーにダッチワイフを先に使われ、人形に夢中のカボーに譲ってやる。 スブやんは、今度こそ理想の乱交パーティーをと意気込み、青白いくたびれた助教授や腹の出た鉄屋やらは御遠慮願い、男は売れっ子タレントも加えた40歳未 満の男盛りだけにし、12月15日に伊丹の外人向け貸家でパーティーを開いた。客たちの宴のたけなわ、カボーは人工美女の人形恋しさに先に帰った。1人残 されたスブやんは月の光にインポを曝して、昔、読んだ早稲田の講義録を思い出し、芭蕉風の風流な詩を吟じる。家で待っていたカボーに、スブやんが交通事故 に遭ったと警察から連絡が来た。カポーが天満署に行くと、偶然写真で見た恵子がいて、娼婦になって捕まっていた。巡査付添いで2人が病院へ行くと、スブや んは死んでいるにもかかわらず、背骨の打ち所のせいで勃起していた。白いハンカチをチンチンにかけて、「もうどっちゃが顔かわかれへん」と思わず恵子とカ ボーは笑ってしまう。 |
Synopsis Subuyan, who lives on the second floor of a barber's shop in Takii, is an "eroticist" who makes a living selling tapes of people having sex that he has secretly recorded, as well as erotic photographs, and procuring women for the purpose of prostitution. Five years ago, Subuyan became close to the widow of the barber, Oharu, and they entered into a common-law marriage. Recently, Oharu has been suffering from lung problems and has been taking time off work. Oharu has a daughter, Keiko, from her previous marriage, and Subuyan has even borrowed Keiko's high school uniform for the filming of blue films. Most pornographers have connections with the yakuza, but Subuyan, having learned his lesson from the time when he was once targeted by the police, only dealt with straight-laced people whom he had developed his own routes and clientele for, and he also chose amateurs as his female procurers and film models. The following March, it was discovered that Oharu was pregnant, but due to her weakened condition, the fetus was aborted the following month by artificial birth. The fetus, which was five months old, was taken in and mourned by Subuyan at the doctor's recommendation. The baby, a boy, was buried in a can of seaweed from Yamamotoyama with some earth and then sent down the Yodogawa River by the three men, Ban-chan, Goki (a former Imperial soldier) and Sub-yan, who were all friends of Sub-yan's who worked in the porn industry. While the production of the blue film was underway, with Kakiya also writing the script, Oharu's condition deteriorated while she was in hospital and she died. Sub-yan and the others held a memorial service for her, projecting the blue film on the wall in front of her coffin. Sub-yan learned that a cheap surgeon in the foothills of Mt. Rokko, who used to be a call girl, was making and storing perverted blue films at his villa, so he went to steal them. He also recruited Paul, the surgeon's clerk, into his group of eroticists. Later, Sub-yan took Keiko and her friends, who wanted to go to a gay bar, out for a night on the town, and on the way home, he and Keiko ended up in a romantic situation. The two of them, who had always had a certain attraction to each other, went home and almost made love, but at the last minute Subuyan became unable to perform. The next morning, a detective came to the house and Subuyan was detained on suspicion of selling perverted films to customers from the pioneering days. Somehow or other, Subuyan managed to get out of trouble and was released after 12 days, but Keiko had not run away from home. Then, Kabo, who he had met in the detention center, came to stay with him. Kabo was a good-looking young man who wanted to be a TV personality, and he could pick up women whenever he wanted, but he was a virgin who was only interested in masturbation. The following year, Sub-yan, who still had not recovered from his impotence, used the college girls and female shop assistants that Kabo and Paul picked up to come up with a scheme to meet the needs of the company's directors and other sexually-oriented customers, gradually moving away from the easy money of selling blue films and only showing them at membership-only screenings. Eventually, Subuyan lost interest in the films and started organizing orgy parties. The cameraman, Banri, became fed up with the dirty and disgusting orgies and decided to aim for artistic film production, and he and Subuyan parted ways. Paul also followed Ban-teki, but when he heard a rumor from Goki that Paul was beginning to exploit Ban-teki as a businessman prioritizing mass production, Sub-yan informed on Paul's whereabouts to a surgeon in the Rokko foothills who was friendly with the Kobe gangsters. At that time, Sub-yan tries to cure his impotence by using a sex doll (a "Dutch wife") that he obtained through his customer Kenzaka as a stand-in for Keiko, but while he is away, Kabo uses the doll first, and he gives it to Kabo, who is absorbed in the doll. Subuyan was determined to hold the orgy party of his dreams this time, and he asked the pale, worn-out assistant professor and the potbellied ironworker to stay away. He only invited men in their prime, under 40, including popular TV personalities, and held the party on December 15th at a house for rent in Itami for foreigners. While the guests were in the midst of their revelry, Kabo left early, missing his mannequin lover. Left alone, Subuyan exposed his impotence to the moonlight, and remembered the lecture notes he had read at Waseda University long ago, and recited a Basho-style elegant poem. Kabo, who was waiting at home, received a call from the police saying that Subuyan had been in a traffic accident. When Kabo went to the Tenma Police Station, he saw a photo of Keiko, who had been arrested for becoming a prostitute. When the two of them went to the hospital with the police officer, Subuyan was dead, but his penis was still erect due to the blow to his spine. He put a white handkerchief over his penis, and Keiko and Kabo couldn't help laughing, thinking "I can't tell which face is which anymore". |
| おもな登場人物 スブやん 35 - 38歳。エロ事師。豚のように肥っている。あだ名の「スブやん」は酢豚の略。表向きの名前は「喜早時貴」。戸籍名は警察公安課だけが知る。母親は17年前 に神戸空襲で死亡。父親も戦死。戦後の闇市の時代に様々な職を経た後、三流金銭登録機のセールスマンとなり、その過程でエロ写真を欲しがる客の要望に答え るうちに、それが本業になる。10月10日生まれ。 伴的 エロ事師。スブやんの相棒でカメラマン。滑稽なほど短い脚。元は、元町の帽子屋の倅だったが、写真道楽の末、女房と揉め、モデルと駆け落ちして親から勘当 された。今は大阪城東区の大宮町に侘び住いの身。 お春 38 - 39歳。スブやんの妻（未入籍）で、3歳年上の元未亡人。床屋の店を張る。夫と死別し、5年前から二階の一部屋を人に貸しており、そこへスブやんが来て半 年後に内縁関係となった。肺に影が写っていると診断され、身体が衰弱。スブやんの子を妊娠するが5か月で中絶。その後喀血して衰弱し病院で死亡。 恵子 16 - 18歳。お春の娘。菊水女子高に通う女子高生。母親が死んでから、やっとスブやんを「お父ちゃん」と呼ぶようになる。 「処女屋」のおばはん 50歳くらい。芦屋に居住。娼婦を育てている「エロ事師」。演技の上手い女を「処女」と偽り、客に宛がう。集めた女は、上は28歳から下は21歳までい る。戦前は大森で連込み宿を経営していた。よくしゃべる肥えたおばさん。 安子 自称23歳。「処女屋」のベテラン娼婦。実はおばはんの娘で、年を6歳ほどごまかし、1年半後の時点でもうすぐ30歳。母親の手配で、15歳の時に50年 代の土建屋の県会議員に処女を買われた。 広告代理店の重役 42歳。妻と3人の子持ち。何の不足なく世を渡って来たが、自分の妻が処女でなかったと思い込み、これまでの人生で、自分が「初めての男」だという処女と の交際がないことを悲しんでいる。スブやんの客。 ゴキ 48 - 50歳。ブツ（ブルーフィルム）の運び屋。大阪市内のブルーフィルム収集家から、フィルムを借り出すのが今の商売。以前はこの道で名の知れた「エロ事師」 だったが去年引退した。門真市のはずれの蓮池のほとりにある番小屋の汚い6畳の部屋に住み、箱の中にゴキブリを飼い、その色艶を鑑賞しながら焼酎を飲み、 春日八郎を聞くのが幸せ。実家は代々神社の神主で、弟が継いでいる。 東山幸楽 60歳。往年の弁士。今は梅田で名刺屋をやっている。ゴキの紹介でブルーフィルムの弁士をする。歳より若々しい。 モデルの女 ブルーフィルムに出演する女。天狗のお面の漆が剥げてカブれ、大事なところが腫れる。治療代をスブやんに請求。 クロ 白黒ショーの男。お座敷専門にまわっている素人。元漁師。妻に先立たれる。 シロ（理恵） 白黒ショーの女。美人だが白痴。育ちざかりに脳膜炎で知恵遅れとなった。父（漁師）の留守中に、村の若者に襲われ、その後淫乱となり、村の若衆の慰み者に なる。実はクロとは父娘の関係。 カキヤ 元エロ本書き。ブルーフィルムの台本を書く。関目駅近くのペンキ屋の二階の四畳半住い。六尺二寸の巨大漢。不感症だった亡き母が創作の母体だと言う。その 後、オナニーの最中に心臓麻痺で死亡。本名は阿部保。実は母親は健在だった。 兼坂 30代前半。事務所を構えているコピーライター。スポンサーへの接待用のエロ本を買ったり、エロショーを依頼。自分も乱交パーティーに参加する。 松江 新興宗教の信者。札幌出身の家出女。働いていた靴下工場が倒産し困窮。集会に潜入したスブやんが目をつけ、商売に利用し、コールガールになる。 玉子 松江の友人。同じ靴下工場で働いていた。看護婦くずれ。松江の紹介でコールガールになる。 六甲山麓の外科医 45、6歳。インテリ教授風の面。玉子が以前勤めていた病院の医者。退職金や月給をろくに払わない稀代のケチ。六甲山に別荘を持ち、趣味で変態物のブルー フィルムを製作している。200巻所蔵。手くせが悪く、新しい看護婦に手をつけモデルに使う。神戸の暴力団と親しい。 運転手 六甲山麓の外科医に雇われている運転手。貧相な小男。ブルーフィルム撮影を手伝っていた。スブやんの仲間には入らずに故郷に帰る。 ポール 外科医の元事務長。とっちゃん坊や風の若者。ブルーフィルム撮影を手伝っていた。スブやんの仲間になり、コールガールの助手となる。神戸出身。東京の大学 を2年で中退後、証券会社の投資信託セールスマンとなり、外科医に出入りするうちに、事務長に誘われた。 ジュネ ゲイバー「コクトオ」のおかま。恵子たち処女の女学生たちの大胆なおしゃべりに負かされる。 カボー 美青年。団地の屋上のタンクそばで野宿して逮捕された勾留所の新入りで、そこでスブやんと知り合う。ＴＶタレントを目指している。ギターをかかえるポーズ でジョンジョンと口で調子をとる。男前だが童貞。継母に抱きつかれ、気色わるくなり家出した。 重役 満員電車に乗ったことがない。スブやん指南の痴漢入門に興味を示し実行するが、触っていたのはスブやんの尻。勘違いしたままそれで満足。 化粧品メーカーの宣伝部長 スブやんの客。若い女学生とデートしたがる。彼女らが水着に着替えた後の、脱いだ下着を被る。 女学生たち カボーとポールに誘われ志摩半島に遊びに来る。真珠養殖の社長になりすました化粧品メーカーの宣伝部長とチークダンスを踊る。 |
Main Characters Sub-yan 35-38 years old. An eroticist. He is fat like a pig. His nickname "Sub-yan" is an abbreviation of "sweet and sour pork". His official name is "Kihayashi Toki". Only the police public safety department knows his family name. His mother died in the Kobe air raid 17 years ago. His father also died in the war. After working in various jobs during the black market period after the war, he became a salesman for third-rate cash registers, and in the process of satisfying the requests of customers who wanted erotic photographs, this became his main job. He was born on October 10th. Ban-teki Ero-jishi. Subu-yan's partner and cameraman. Ridiculously short legs. He used to be the son of a hat maker in Motomachi, but after becoming obsessed with photography, he had a row with his wife and ran away with a model, and was disowned by his parents. He now lives in poverty in Omiya-cho, Higashi-ku, Osaka. Oharu 38-39 years old. Subuya's wife (not officially married) and a former widow who is three years older than him. She runs a barber's shop. After her husband died, she rented out a room on the second floor to someone, and six months after Subuya came to live there, they became de facto husband and wife. She was diagnosed with a shadow on her lung and her health deteriorated. She becomes pregnant with Sub-yan's child, but has an abortion after five months. She then coughs up blood and becomes weak, and dies in hospital. Keiko 16-18 years old. Oharu's daughter. A high school girl who goes to Kikusui Girls' High School. After her mother dies, she finally starts calling Sub-yan "Father". The old lady from the "Virgin Shop" She is around 50 years old and lives in Ashiya. She is a "sex worker" who raises prostitutes. She passes off women who are good at acting as "virgins" to her customers. The women she has collected range in age from 28 to 21. Before the war, she ran a brothel in Omori. She is a well-spoken, well-rounded woman. Yasuko Self-proclaimed age 23. A veteran prostitute at the "Virgin Shop". She is actually the daughter of an older woman, and has lied about her age by about 6 years, so at the time of the story, she is almost 30 years old. At the age of 15, she was sold to a prefectural assemblyman who worked in construction in the 1950s by her mother. Executive at an advertising agency 42 years old. Has a wife and three children. Has lived a comfortable life, but is sad that he has never been with a virgin who thought her husband was her first man. Subu-yan's customer. Goki 48-50 years old. A blue film (pornographic film) courier. His current business is borrowing films from blue film collectors in Osaka City. He was once a well-known "erotic expert" in this field, but retired last year. He lives in a dirty 6 tatami mat room in a guard house by the edge of Hasuike pond in Kadoma City, keeps cockroaches in a box, drinks shochu while admiring their color and lustre, and listens to Kasuga Hachiro. His family has been the chief priest of a shrine for generations, and his younger brother is taking over. Higashiyama Kouraku 60 years old. A former narrator. Now runs a business making business cards in Umeda. Introduced by Goki, he becomes a narrator for blue films. He looks younger than his age. Female model A woman who appears in blue films. The lacquer on her tengu mask peels off and she gets a rash, and her private parts swell up. She asks Subuya to pay for the medical treatment. Kuro A man who performs in black-and-white shows. An amateur who specializes in performing at private parties. Former fisherman. His wife died before him. Shiro (Rie) Woman in the black-and-white show. Beautiful but stupid. She became mentally retarded due to meningitis when she was growing up. While her father (a fisherman) was away, she was attacked by a young man from the village, and after that she became a slut and became the plaything of the young men in the village. She is actually the father and daughter of Kuro. Kakiya Formerly a writer of pornographic books, he now writes scripts for blue films. He lives in a 4.5 tatami mat room on the second floor of a paint shop near Sekime Station. He is a huge man, 6 feet 2 inches tall. He says that his mother, who was frigid, was the inspiration for his creative work. Later, he died of a heart attack while masturbating. His real name is Yasumasa Abe. His mother is still alive. Kanesaka Early 30s. Copywriter who runs his own office. Buys pornographic magazines for entertaining sponsors and commissions pornographic shows. Also participates in orgy parties. Matsue Believer in a new religion. A runaway girl from Sapporo. She is impoverished after the sock factory where she worked goes bankrupt. Subu-yan, who infiltrated the meeting, takes notice of her and uses her for business, and she becomes a call girl. Tamago A friend of Matsue's. They worked at the same sock factory. She used to be a nurse. She became a call girl through Matsue's introduction. Surgeon in the Rokko Mountains 45 or 6 years old. He has an intellectual, professorial air about him. He is a doctor at the hospital where Tamago used to work. He is a rare miser who doesn't pay his employees a decent retirement allowance or a decent monthly salary. He has a villa in the Rokko Mountains and makes perverted blue films as a hobby. He has a collection of 200 volumes. He has bad habits and takes advantage of new nurses, using them as models. He is close to the Kobe gangsters. Chauffeur A chauffeur employed by the surgeon in the Rokko foothills. He is a small, poor-looking man. He helped to film the blue films. He does not join Subu-yan's group and returns to his hometown. Paul Former office manager of the surgeon. A young man with a boyish appearance. He helped to film blue films. He became a member of Subu-yan's group and became an assistant to a call girl. He is from Kobe. After dropping out of university in Tokyo after two years, he became a mutual fund salesman for a securities company, and while visiting the surgeon, he was invited to become the office manager. June A transvestite at the gay bar "Cocteau". He is defeated by the bold chatter of the virginal female students, including Keiko. Kabo A handsome young man. He is a newcomer to the detention center who was arrested for sleeping rough near the water tank on the roof of an apartment block, and it is there that he meets Sub-yan. He is aiming to become a TV personality. He holds a guitar and uses it to time his mouth-sex with John-John. He's good-looking, but a virgin. He ran away from home after his stepmother hugged him and he got weirded out. Executive He's never been on a packed train. He shows interest in the groping guide given by Sub-yan and tries it out, but the only thing he touches is Sub-yan's butt. He's satisfied with that, thinking he's done it. Advertising manager for a cosmetics company Sub-yan's customer. He wants to go on a date with young female students. He wears the underwear they take off after changing into their swimsuits. Female students They come to the Shima Peninsula to play after being invited by Kabo and Paul. They dance cheek-to-cheek with the advertising manager of a cosmetics company who is pretending to be the president of a pearl farm. |
| 作品評価・解釈 野坂昭如の処女作『エロ事師たち』は発表時、明治時代以来の近代日本文学に見られなかった型破りな作品と評され、赤裸々で露骨な現実を表現しているにもか かわらず、野卑にならない世界を醸し出す古典的な「語り物文芸」口調のリズムを駆使した文体が特徴的で[1][9]、吉行淳之介や三島由紀夫らが、雑誌 『文藝』のアンケート・ベストワンに選ぶなど、高い評価をされている[9]。内容的には社会の裏面的な性のグロテスクな素材のため、同じ野坂の名作『火垂 るの墓』のように一般化されることはないが、野坂が文壇で認められるきっかけとなった出世作として位置づけられている。 澁澤龍彦は、野坂という小説家を「男女のからみ合うベッドシーンばかり書きたがる当節の通俗流行作家とは全く反対に、ひたすら観念のエロティシズム、欠如 体としてのエロティシズムにのみ没頭する一種独特な性の探究家」と呼び、その表現方法は悪趣味的であるが、独自の「庖丁さばき」（文体）により調理され下 品に陥ることがないとし、その「庖丁さばき」は、「既成の文壇作家のストイックで潔癖な趣味とは明らかに趣味を異にするけれど、しかもなお、現実を調理す ることによって文学の真実を救い出すという、その一点においては全く変りがない」と解説しつつ[1]、社会の裏側の「ポルノグラフィックな最低な現実を文 学の素材として用い、しかもそれを見事な庖丁さばきで料理した作家」は、それまでの日本文学において野坂以外にはいなかったと評している[1]。 そして澁澤は、「エロ事師」である主人公を野坂が、「物語の途中から容赦なくインポテンツの立場に追い落としている点」に、作品全体の「辛辣なアイロ ニー」が生き、そういった操作は、女嫌いのオナニストの美青年がダッチワイフの人工美女に惚れるところなど各所に散見されるとし、さらには、「小説全体を 象徴する最大のアイロニー」となる最後の主人公の死に方の滑稽な状態は、「性そのもののアイロニーとぴったり重なっている」と解説している[1] 三島由紀夫は『エロ事師たち』を、「武田麟太郎風の無頼の文学」と呼び[10]、「文壇の良識派」が「微笑をうかべて頭を撫でてやる」ような〈よく出来た 中間小説〉という代物とは正反対の、「醜悪無慚」でありながら、「塵芥捨場の真昼の空のやうに明るく、お偉ら方が鼻をつまんで避けてとほるやうな小説」だ とし[9]、「『プレイボオイ』などと言つて空うそぶいてゐる野坂氏が、こんなに辛辣な人間だつたとは、面白いことだ」と述べている[9]。そして、村松 梢風の晩年を想起させる野坂のその文章を、「身も蓋もないその筆致は、雑駁さで雑駁を、卑俗さで卑俗を、そのまま直下に映し出すやうな透明な作用を持つて ゐる」と解説している[9]。 また、誘った女が迷った末に、なびく瞬間の表情にだけ「女の最高の美」を見て、その後の行為は月並と達観して自涜に耽り、「何も人間や人生と相渉らない」 青年や、他人にエロ・ショーを提供するうち、陶酔する客の顔だけ見て満足し、「自分の直接の行為の愉しみ」など捨ててしまう登場人物たちを、「われわれの 芸術行為の劇画」だと、作家の暗喩として看取する三島は、「野坂氏は別にそんな大それた小説を書いたつもりではないが、現代社会の性的態度の売淫性が、そ のもつとも低い形態において、芸術行為の象徴性にまですり代るといふ着眼点は、リアリティーをつかんでゐる」と述べて、以下のように解説している[9] もつとも低いものがもつとも高いものに出会ふといふ無頼の社会観には、われわれの還流式噴水のやうな社会構造を見透かしてゐるところがあり、それではこの エロ事師たちだけが「見者」であるかといふと、彼らも亦、その性における窮極的な態度を余儀なくとらされる点で、一つの役割を荷はされてゐるのである。こ れは一種の悪漢小説であるけれど、おそろしいほど停滞した、追ひつめられたピカレスクであり、谷崎氏の「鍵」や「瘋癲老人日記」のやうな有閑老人の性生活 とはちがつて、一つの職業（非合法な）の報告であるところに意味があるのだ。この小説は警抜なオチを持つてをり、自動車事故で死んだ中年男が、打ちどころ がわるくて死後も勃起をつづけてゐるさまを、「どちらが顔かわからなかつた」と書く作者は、西鶴の時代に生れてゐれば、「知らず、いづれか顔なりけん」と 結んだことであらう。 — 三島由紀夫「極限とリアリティー」[9] |
Work evaluation and
interpretation When it was first published, Akinori Nosaka's first novel, "Erojishi-tachi", was described as a work that broke with the mold of modern Japanese literature since the Meiji era, and despite its frank and explicit portrayal of reality, it was characterized by a classical style of writing, which makes full use of the rhythm of the classical "narrative literature" style, is distinctive,[1][9] and it has been highly praised by writers such as Yoshiyuki Junnosuke and Mishima Yukio, who chose it as their number one choice in a survey in the magazine Bungaku.[9 Because of the grotesque material it uses to depict the seamy side of society, it has never achieved the same level of popularity as his other masterpiece, "Grave of the Fireflies", but it is still regarded as the work that launched his career and brought him recognition in the literary world. Ryūhiko Shibusawa called the novelist Nosaka "a unique sexual explorer who is completely opposed to the popular writers of today who only want to write about the bed scenes of men and women intertwined, and who is devoted to the eroticism of ideas and the eroticism of the lack of body", and he said that his style of expression was tasteless , but that it is prepared using his unique 'knife skills' (literary style) and does not descend into vulgarity. He explains that this 'knife skills' "clearly differs from the stoic and fastidious tastes of established literary authors, but it is still the same in that it rescues the truth of literature . He also explains that "there is no difference at all in that respect"[1], and goes on to say that "there was no other writer in Japanese literature up to that point who used the 'pornographic and despicable reality' of the underside of society as literary material, and who then cooked it up with such brilliant knife-work"[1]. Shibusawa also commented that the "harsh irony" of the entire work comes to life in the way that the protagonist, who is an "eroticist", is mercilessly driven into impotence from the middle of the story, and that such manipulation can be seen in various places, such as the part where the beautiful young man, who is a misogynistic masturbator who is a misogynistic masturbator, falls in love with an artificial beauty in the form of a sex doll, and further explains that the ridiculous state of the protagonist's death at the end, which is "the greatest irony symbolizing the entire novel", "perfectly overlaps with the irony of sex itself"[1] Yukio Mishima called Erojishi-tachi "the kind of literature that is unruly and wild, in the style of Rintaro Takeda"[10], and said that it was the opposite of the "well-made middle-class novel" that the "sensible faction of the literary world" would "smile at and stroke the head of"[9], and that it was "ugly and cruel", but "bright like the sky at midday in a garbage dump, a novel that the great and the good would avoid by pinching their noses and walking past it"[9], and that "it is interesting to think that Mr. Nosaka, who is so full of himself when he talks about things like 'playboy', is such a bitter person". bright like the sky at midday in a garbage dump, a novel that the great and the good would avoid by pinching their noses"[9], and he also said, "It's interesting that Mr. Nosaka, who pretends to be a playboy, is such a bitter person"[9]. , he explains that the bluntness of Nosaka's writing, which brings to mind the final years of Muramatsu Kōfu, "has a transparent effect that directly reflects the coarseness of coarseness and the vulgarity of vulgarity"[9]. Also , he sees "the ultimate beauty of a woman" in the expression of a woman who has been lured and is lost, and then indulges in self-indulgence, viewing the subsequent act as commonplace and dispassionate, and "nothing to do with human beings or life". He also sees the characters who, while providing erotic shows for others, are satisfied by looking only at the faces of the intoxicated customers, and who "throw away the enjoyment of their own direct actions" as "the drama of our artistic actions" Mishima, who sees this as a metaphor for his own artistic practice, says that "Mr. Nosaka did not intend to write such an ambitious novel, but his observation that the prostitution of contemporary society's sexual attitudes replaces the symbolism of artistic practice in its lowest form is realistic" and goes on to explain as follows[9] Even There is a certain aspect of this that sees through the social structure of our society, which is like a recirculating fountain, and in that sense, these eroticists are the only "onlookers", they too are forced to take on a role in that they are also forced to take on an ultimate attitude in their sexuality. This is a kind of villain novel, but it is a terrifyingly stagnant and cornered picaresque, and the significance lies in the fact that it is a report on a single occupation (an illegal one), as opposed to the sexual lives of idle old men like the ones in Tanizaki's "The Key" and "The Diary of a Mad Old Man". This novel has a startling twist, and the author, who writes that the middle-aged man who died in a car accident continued to have an erection even after death because he was hit in the wrong place, would have concluded, "I didn't know which face it was," if he had been born in Saikaku's time. — San |
| 映画化 「エロ事師たち」より 人類学入門 The Amourist/The Pornographer 監督 今村昌平 脚本 今村昌平、沼田幸二 原作 野坂昭如 出演者 小沢昭一、坂本スミ子 音楽 黛敏郎 撮影 姫田真佐久 編集 丹治睦夫 製作会社 今村プロダクション 配給 日活 公開 日本の旗1966年3月12日 上映時間 128分 製作国 日本の旗 日本 言語 日本語 テンプレートを表示 ポータル 映画 ポータル 映画 『「エロ事師たち」より 人類学入門 』（日活、今村プロダクション） 1966年（昭和41年）3月12日封切。公開時の惹句は、「みんなに感謝されながらパクラレる運命の人・エロ事師たち！ その哀歓を通して現代日本に鋭いメスを入れる衝撃の異色喜劇大作!!」である[11]。同年度のキネマ旬報ベストテンの第2位となり、小沢昭一は主演男優 賞を受賞した[12][13]。 スタッフ 監督：今村昌平 脚色：今村昌平、沼田幸二 原作：野坂昭如 企画：友田二郎 製作：今村プロダクション 撮影：姫田真佐久 美術：高田一郎 音楽：黛敏郎 録音：紅谷愃一 照明：岩木保夫 編集：丹治睦夫 スチル：荻野昇 キャスト スブやん（緒方義元）：小沢昭一 松田春：坂本スミ子 松田幸一：近藤正臣 松田恵子：佐川啓子 伴的：田中春男 カボー：中野伸逸 緒方蓼雲：菅井一郎 その後妻照代：園佳也子 古本屋のタケ：木下サヨ子 小田先生：菅井きん 医師：北村和夫 きたの会社の部長：浜村純 白鳥重役：二代目中村鴈治郎 やせ型の中年男：榎木兵衛 小肥りの女：西村貞子 精薄の少女：桜井詢子 その父親：殿山泰司 処女屋のおばはん：ミヤコ蝶々 処女チヨ子：甲田啓子 町工場のおかみ：西岡慶子 町工場の親爺：小倉徳七 西岡：玉村駿太郎 祈祷師：福山博寿 グラマーの映子：福地登茂 古川：内田朝雄 真田警部：西村晃 関口銀次郎：島米八 マコト：佐藤蛾次郎 女子学園園長：須藤圭子 小林昭二 |
Film adaptation From "The Amourist/The Pornographer" An Introduction to Anthropology The Amourist/The Pornographer Director: Imamura Shohei Screenplay: Imamura Shohei, Numata Koji Based on the novel by: Nosaka Akiyuki Cast: Ozawa Shoichi, Sakamoto Sumiko Music: Mayuzumi Toshiro Cinematography: Himeda Masakazu Editing: Tanji Mutsuo Production Company: Imamura Productions Distributor: Nikkatsu Release Japanese Flag March 12, 1966 Running time 128 min Country of production Japanese Flag Japan Language Japanese Display template Portal: Movies Portal: Movies "An Introduction to Anthropology from the Ero-Jishi" (Nikkatsu, Imamura Productions) It was released on March 12, 1966. The tagline at the time of its release was "The eroticists, who are destined to be appreciated by everyone, but who are also destined to be exploited! A shocking and unique comedy that uses the joys and sorrows of these people to cut a sharp scalpel into modern Japan! It came second in the Kinema Junpo Best Ten list for the same year, and Shoichi Ozawa won the Best Actor Award[12][13]. Staff Director: Shohei Imamura Screenplay: Shohei Imamura, Koji Numata Original Story: Akinori Nosaka Planning: Jiro Tomoda Production: Imamura Production Cinematography: Masakazu Himeida Art Director: Ichiro Takada Music: Toshiro Mayuzumi Sound Recording: Beniya Kenichi Lighting: Iwaki Yasuo Editing: Tanji Mutsuo Still Photography: Ogino Noboru Cast Subuyan (Ogata Yoshimoto): Ozawa Shoichi Matsuda Haru: Sakamoto Sumiko Matsuda Koichi: Kondo Masaomi Matsuda Keiko: Sagawa Keiko Ban-teki: Tanaka Haruo Kabo: Nakano Shin'itsu Ogata Taeun: Sugai Ichiro Afterwards, his wife Teruyo: Sono Kayako The old bookshop owner, Take: Kinoshita Sayoko Oda Sensei: Sugai Kin The doctor: Kitamura Kazuo The manager of the Kitanokai company: Hamamura Jun The executive, Shiratori: Nakamura Ganjiro II The thin middle-aged man: Enoki Hyoe Plump woman: Sadako Nishimura Mentally handicapped girl: Junko Sakurai Her father: Taiji Tono Madam of the virgin shop: Chocho Miyako Virgin Chiyoko: Keiko Koda Madam of the small factory: Keiko Nishioka Old man of the small factory: Tokushichi Ogura Nishioka: Shuntaro Tamamura Shinto priest: Hirohisa Fukuyama Glamour model: Tomo Fukuchi Furukawa: Tomoo Uchida Inspector Sanada: Akira Nishimura Sekiguchi Ginjiro: Yonehachi Shima Makoto: Gajiro Sato Headmistress of the girls' school: Keiko Suto Shoji Kobayashi |
| 文庫版『エロ事師たち』（付録・解説
澁澤龍彦）（新潮文庫、1970年。改版2001年） 『決定版 三島由紀夫全集第32巻・評論7（新潮社、2003年） 『決定版 三島由紀夫全集第38巻・書簡』（新潮社、2004年） 『野坂昭如コレクション 1』（国書刊行会、2000年） 野坂昭如『赫奕たる逆光 私説・三島由紀夫』（文藝春秋、1987年） 野坂昭如『ひとでなし』（中央公論社、1997年） 『キネマ旬報ベスト・テン80回全史 1924-2006』キネマ旬報社〈キネマ旬報ムック〉、2007年7月。ISBN 978-4873766560。 『キネマ旬報ベスト・テン85回全史 1924-2011』キネマ旬報社〈キネマ旬報ムック〉、2012年5月。ISBN 978-4873767550。 日高靖一ポスター提供『なつかしの日本映画ポスターコレクション――昭和黄金期日本映画のすべて』近代映画社〈デラックス近代映画〉、1989年5月。 ISBN 978-4764870550。 |
Bunko edition of
"Erojishi-tachi" (with appendix and commentary by Ryūhiko Shibusawa)
(Shinchosha, 1970. Revised edition 2001) "Ketteiban Mishima Yukio Zenshū Vol. 32: Hyōron 7" (Shinchosha, 2003) "Ketteiban Mishima Yukio Zenshū Vol. 38: Shōkan" (Shinchosha, 2004) 'The Akira Nosaka Collection 1' (Kokusho Kanko-kai, 2000) Akira Nosaka, 'Kaketsu-taru Gyakkou: Shisetsu Mishima Yukio' (Bungei Shunju, 1987) Akira Nosaka, 'Hito-denashi' (Chuokoronsha, 1997) Kinema Junpo Best Ten 80-time Complete History 1924-2006, Kinema Junpo Sha (Kinema Junpo Mook), July 2007. ISBN 978-4873766560. Kinema Junpo Best Ten 85th Anniversary Complete History 1924-2011, Kinema Junpo Sha, May 2012. ISBN 978-4873767550. Yasuichi Hidaka Poster Collection: A Collection of Nostalgic Japanese Film Posters - All of the Japanese Films from the Golden Age of Showa", Kindai Eiga-sha (Deluxe Kindai Eiga), May 1989. ISBN 978-4764870550. |
| 南極1号（なんきょくいちごう）は、日本の第1次南極地域観測隊の越冬
隊（1957年）が（公式には記録されていないが[1]）昭和基地へ持ち込んだダッチワイフ。日本では「ダッチワイフ」と言えば「南極越冬隊」を連想する
者も多いほど[2]、ダッチワイフの象徴的存在である。 形状 大きさは等身大で[3]、上半身は石膏製のマネキン人形をヘソの辺りで輪切りに断ち切っており、下半身は別のソフトな材質で作られていた[4]。両脚は大 腿部から切断されており、これは業者が脚まで作る造作を面倒がったためである[3]。女性器はゴム・プラスチック製になっており[3]、陰毛も付けてある [3]。腰・臀部の内部には4リットルの金属缶が埋め込まれてあり、使用時には適温の湯で満たしてネジで蓋をし、温まったところで膣に滑剤を塗って使用す ることになる[3]。使用後は缶の湯を抜き[4]、各部の消毒と洗浄もしなければならない[3]。 経緯 日本にて 1950年代において南極は未だ未知のフロンティアであり、そこへの観測隊派遣は国家的な一大科学プロジェクトと位置づけられていた[1]。特に敗戦から 間も無い日本にとって初となる南極地域観測隊の派遣は、国家再建と科学技術の復興を世界にアピールする絶好の機会として国内から高い関心が集まり[1]、 その準備も入念に行なわれた。 当時の外国の極地探検記では、隊員がノイローゼに陥り自傷他害の惨事を引き起こす事例がしばしば報告されていた[4][1]。原因として第一に考えられた のは、太陽が長期間出ない極地ならではの極夜という気象条件だが[4]、長期間の性的禁欲生活が与えるストレスも無視できない要因と考えられていた[4] [1]。かくして、南極での越冬隊を準備するにあたって医療部門の医師らは検討を重ね、特に若い男性隊員の性的エネルギーを発散させる何らかの方策が必要 との結論に達した[4]。そして、自らも越冬隊員となる医師の中野征紀の発案により[2]、女体を模した性具人形を用意することになった[4]。とはいえ 当時はダッチワイフのような性具は薬事法などで厳しく取り締まられており[2]、中野を中心とする医師らは全国を探し回った末[4]、東京・浅草橋の人形 問屋に1体あたり5万円で2体の人形制作を依頼した[2]。 出来上がった人形は、備品としては報告されることのない曖昧な位置づけのまま、南極へ向かう観測船・宗谷に人知れず積み込まれた[5]。 南極にて 宗谷が南極へ到着すると、2体のうち1体が上陸し、もう1体は帰国する宗谷の倉庫に残された[5]。冬を迎え始めた南極で、総勢11名の男性（平均年齢 37歳[4]）からなる越冬隊は昭和基地での越冬準備にとりかかった。 典型的なイグルー 越冬隊長の西堀栄三郎は人形の使い方について中野からレクチャーを受け[3]、その安置場所として基地建物の裏手にイグルー（簡易的な雪小屋）を自らの手 でわざわざ造った[6]。それは、基地建物内に人形を置くと風紀が乱れかねないという西堀の配慮だった[4]。イグルーの中で、人形はケバケバしい着物を 着せられ、布団のようなものの上に横たえられた[4]。そして傍らには、西堀が手書きした取扱説明書、ラディウス（登山用携帯コンロ）、コッヘル（登山用 鍋）が置かれた[4]。イグルーの入口にはテントの布が垂らされた[4]。 越冬準備の屋外作業がおおむね完了したある日、西堀は朝食の席で唐突に、人形の存在を隊員らへ告げた[4]。 「今日から冬ごもりに入るが、イグルーの中にべんてん様がおいでになります。みなさんお参りしてもろてよろしい。ただし、お参りの順序は、いつもの順序に してもらいます。」 「エッ、べんてん様だって？」 「アッ、そうか。あのべんてん様か。」 皆は一瞬けげんな顔をしたが、すぐ意味を悟ってニヤリとした。[4] 隊員らは「べんてん様」なる性具人形の存在を薄々聞いてはいたが、本当に基地まで持ち込まれたと知り、どよめいた[4]。かくして一日につき一人ずつ、越 冬隊長の西堀を皮切りに、年長者から順にイグルーのべんてん様へ「お参り」する運びとなった[4]。 しかし、べんてん様を使用する者はついぞ現われなかった[4][7]。まず何より、そのグロテスクな容姿は隊員の気持ちを萎えさせるに充分だった[4]。 またイグルーの中は零下15度と、手袋がなければ人形に触るのも憚られる寒さで[4]性欲どころでなかった[5]。さらにイグルーの雪壁から雪をナイフで こそぎ落としてラディウスとコッヘルで溶かし、4リットルのお湯になるまで暖めるのは何十分と時間のかかる根気作業で、事後の後始末の手間まで考えると、 それだけでもう辟易してしまうのだった[4]。そこまでするほど性的に昂じている隊員は居なかったのである[4]。20代の若い隊員の中にはそれなりに興 味津々でイグルーに入っていく者もいたが、結局べんてん様の姿を拝んだだけで、すごすご出てきてしまった[4]。 昭和基地の緯度では極夜の期間がさほど長くないこともあってか、幸いにして精神に異常を来たす者が隊から出ることはなかった[4]。かようにして越冬期間 は終わり、基地の人形は「処女」のまま日本へ帰ることになった[5]。一方、宗谷で一足早く帰路についたもう一体は、人目の無い倉庫で誰かがこっそり使用 して後始末もしなかったため「局部が腐敗して、くさくてくさくて困ったからぶん投げた」という[5]。 人形の発案者の中野は、後に「（使われもしない人形を作ったことは）わたくしの老婆心からの一つの失敗で、慙愧に耐えない」と回顧している[3]。この種 の人形が作られたのは、この時の越冬隊が最初で最後である[4]。 その後 刺激的な話題を好む諸々の下世話なメディアは、例の人形を「南極妻」「ミス南極」などと名付けて面白半分に虚実交えた話を報じ[1]、いつしか「南極1 号」という名が広まっていった[1]。南極でのセックス処理が世上の話題に上ったことで、結果的に「南極1号」は日本でダッチワイフ開発が進む契機を作り 出した[1]。ダッチワイフが公然と日本で流通し始めるのは1960年代も半ばになって以降である[2]。 関連項目 突撃一番 |
The Antarctic No. 1 is a Dutch
wife that was brought to Showa Station by the Japanese First Antarctic
Research Expedition's wintering party (1957) (although this is not
officially recorded[1]). In Japan, the Antarctic wintering party is so
strongly associated with the Dutch wife that many people think of it
when they hear the word "Dutch wife"[2], making it a symbol of the
Dutch wife. Shape [edit] It was life-sized[3], with the upper body made from a plaster mannequin that had been cut in half at the navel, and the lower body made from a different, softer material[4]. The legs were cut off at the thigh, as the manufacturer had found it too much trouble to make the legs as well[3]. The female genitalia were made from rubber and plastic[3], and pubic hair was also attached[3]. A 4-liter metal can is embedded inside the hips and buttocks, and when it is time to use it, the can is filled with warm water and screwed on, and then lubricant is applied to the vagina before use[3]. After use, the water in the can is drained[4], and the various parts must be disinfected and cleaned[3]. Background [edit] In Japan [edit] In the 1950s, the Antarctic was still an unknown frontier, and the dispatch of an observation team there was positioned as a major national scientific project[1]. In particular, for Japan, which had only recently lost the war, the dispatch of the first Antarctic observation team was a great opportunity to show the world that the country was rebuilding and that its science and technology were recovering[1], and preparations were made with great care. At the time, foreign polar expedition reports often reported cases of team members suffering from neurosis and causing self-injury and harm to others[4][1]. The first thought to be the cause was the weather conditions of the polar night, which is unique to the polar regions where the sun does not rise for long periods of time[4], but the stress caused by long periods of sexual abstinence was also thought to be an important factor[4][1]. As a result, the doctors in the medical department who were preparing the wintering party in Antarctica held many discussions and came to the conclusion that some kind of measure was needed to relieve the sexual energy of the young male party members in particular[4]. Then, under the initiative of Dr. Nakano, who was also a member of the wintering party[2], it was decided to prepare sex dolls that resembled the female body[4]. However, at the time, sex aids such as the Dutch wife were strictly controlled by the Pharmaceutical Affairs Law, etc. [2], and the doctors, led by Nakano, searched all over the country [4], and after that, they asked a doll wholesaler in Asakusabashi, Tokyo to make two dolls for 50,000 yen each [2]. The dolls were loaded onto the Soya, a research vessel bound for the Antarctic, without anyone knowing, in an ambiguous position that was never reported as equipment[5]. In the Antarctic [edit] When the Soya arrived in Antarctica, one of the two dolls was taken ashore, and the other was left in the Soya's hold on its way back to Japan[5]. As winter began to set in, the 11-strong wintering party (average age 37[4]) began preparations for the winter at Showa Station. A typical igloo Eizaburo Nishibori, the leader of the wintering party, received a lecture from Nakano on how to use the doll[3], and he even went to the trouble of building an igloo (a simple snow hut) by himself in the back of the base building as a place to put it[6]. This was because Nishibori was concerned that if the doll was placed inside the base building, it might cause a disturbance to public morals[4]. Inside the igloo, the doll was dressed in a gaudy kimono and laid down on something that looked like a futon[4]. Next to it, there was a handwritten instruction manual, a portable stove for mountaineering, and a pot for mountaineering[4]. A tent cloth was hung at the entrance to the igloo[4]. One day, after the outdoor preparations for the winter had been completed, Nishibori suddenly announced the presence of the doll to the team at breakfast[4]. "We're going to hibernate from today, and Benten-sama will be in the igloo. Everyone is welcome to pay your respects. However, the order of paying your respects will be the same as usual." "What, Benten-sama?" "Oh, I see. That Benten-sama." Everyone looked puzzled for a moment, but then they quickly realized what he meant and grinned. [4 The members of the team had heard vaguely about the existence of the sex doll called "Benten-sama", but when they learned that it had actually been brought to the base, they were stunned[4]. Thus, one by one each day, starting with the wintering team leader Nishibori, the members of the team "visited" the Benten-sama in the igloo, starting with the oldest members of the team[4]. However, no one ever used the Benten-sama[4][7]. First and foremost, its grotesque appearance was enough to put the team members off[4]. Also, the igloo was 15 degrees below zero, and without gloves it was too cold to even touch the doll[4], let alone have any sexual desire[5]. Furthermore, scraping the snow off the igloo's snow walls with a knife, melting it in a radius and a kocher, and warming it until it reaches 4 liters of hot water is a painstaking process that takes many minutes, and when you think about the trouble of cleaning up afterwards, it's enough to make you want to give up[4]. None of the team members were sexually aroused to that extent[4]. Some of the younger team members in their 20s were naturally curious and went into the igloo, but in the end they only saw the statue of Benten and came out dejectedly[4]. Perhaps because the period of the polar night was not very long at the latitude of Showa Station, fortunately no one in the team suffered a mental breakdown[4]. In this way, the wintering period came to an end, and the doll at the base returned to Japan still a "virgin"[5]. Meanwhile, the other doll that had returned to Japan a little earlier in Soya was secretly used by someone in an unoccupied warehouse, and because they didn't clean up afterwards, "the genitals rotted and it stank, so they threw it away"[5]. Nakano, the creator of the doll, later recalled, "It was a mistake born of my old woman's heart to make a doll that was never used, and I am filled with shame"[3]. This was the first and last time that a doll of this type was made[4]. After that [edit] Various low-brow media outlets, which like to report on sensational topics, reported on the doll, giving it such names as "Antarctic Wife" and "Miss Antarctica", and half-truths and half-lies were reported[1], and before long the name "Antarctic No. 1" had spread[1]. The fact that sex in the Antarctic became a topic of conversation in the world eventually led to the development of the "Antarctic No. 1" in Japan[1]. It was not until the mid-1960s that the Dutch wife began to be openly distributed in Japan[2]. Related articles [edit] Totsugeki Ichiban |
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