@article{oai:kobe-c.repo.nii.ac.jp:00005336,
 author = {古村, 敏明 and KOMURA, Toshiaki},
 journal = {女性学評論, Women's Studies Forum},
 month = {Mar},
 note = {本論文、「写真の中の生きる死者：Sharon Olds's The Dead and the Living」では、現代アメリカ詩人Sharon olds の詩集 The Dead and the Livingを題材に、生きているときの死者の写真を見る、という行為の中で感じられる間接的な喪失感とそこから生まれる共感の可能性について考察する。William Shakespeare が Sonnet 18 で表現しているように（"So long as men can breathe or eyes can see, / So long lives this, and this gives life to thee")、芸術作品はその作品に描かれたものをその死後も永続させる力を持つ。死者の生前の写真の場合、そこに「芸術的生」(artistic life)と作品の中の対象の実際の死が共存するスペースが生じ、本の中の出来事が常に現在形で表されるのと同様に、死者の生が、過去のものであるだけでなく、現在にも存在し続ける。ただ、それはRoland Barthes, Walter Benjamin, Susan Sontag らの代表的な写真理論で示唆されているように、倫理的な問題を孕む、オーセンティックな主体が失われたものとしてである。 
Olds の ekphrasis は、この芸術的生と現実の死を通して、より倫理性の高い共感を作る可能性を模索している。　"Photograph of the Girl" に代表されるように、Olds が描く死者は、写真で失われるオーセンティックな主体性を修復するかのように、その生及び性を主張する。この主体主張による「創られた真実性」（artificial authenticity)とそのフィクション性の認識の中から倫理的な共感が発生しうること、そして、それが喪失の間接性によって隠された、本当の喪失の知覚を可能にするということが、本論文の主旨である。, Epicurus once famously proclaimed, "Death... is nothing to us, seeing that, when we are, death is not come, and, when death is come, we are not." Art, however, can create a curious phenomenon in which one's life and death coexist in the same space; as long as the artwork lives, it continues to give life to those represented in it, even when they are corporeally dead. That is to say, the life of those portrayed in a book are always retold in the present tense-even as their real-life models might be long "past." In the case of photography, however, theorists such as Roland Barthes, Walter Benjamin, and Susan Sontag contend that this phenomenon of posthumous living engenders ethical concerns, in that photographs often compromise their subjects' authenticity and individuality.
Sharon Olds's ekphrases in The Dead and the Living explore the possibility of a more ethical model of empathy in photographic representations of the dead, and they do so by restoring the subjects' individuality through an insistent focus on their identity. This approach is exemplified by "Photograph of the Girl," a poem based on a photograph of a girl who died in the Russian famine of 1921; in this poem, the girl in the photograph, even as she undergoes emaciation, is described as someone who would, if all had gone right, reach womanhood, as intimated by such images as the ovaries letting out the first eggs. These gendering imageries create a sense of artificial authenticity by sustaining the living identity of the dead photographic subjects. The salve of Olds's ekphrases is that, because they are cognizant of their own fictionality, their imagistic authenticity generates a more ethically conscious empathy that is less usurpatory and exploitative},
 pages = {43--64},
 title = {写真の中の生きる死者:Sharon Olds's The Dead and the Living},
 volume = {30},
 year = {2016},
 yomi = {コムラ, トシアキ}
}