You read Dogra Magra all the way to the end and still could not quite tell what had happened. The characters started blurring into one another partway through. While you were working through “The Fetus’s Dream” and the other enormous documents embedded in the novel, you lost track of where the present-day story had gone. This article is a reading guide for exactly that reader.
Dogra Magra is not a novel in which everything is incomprehensible. If you separate the present-day events, the explanations of the characters, the documents within the novel, and the past incidents, a great deal of it can be sorted out. The difficulty is that, even after you sort it out, there remain explanations that contradict one another and relationships between characters that cannot be pinned down to a single answer.
So this article does not start by deciding answers to questions such as “Who is the real culprit?” or “Who is the protagonist really?” Instead, it first breaks the work down and sorts out the characters, the in-novel documents, the two past incidents, the order in which “I” learns things, and the timeline. Before trying to solve Dogra Magra, we first draw a map of the labyrinth. That is the purpose of this article.
*The following discusses the story through to its ending. If you have not read the novel, see “What Is Dogra Magra?” first. The full text of the novel can also be read on Aozora Bunko[1]. For theories about what really happened, see “Dogra Magra Explained”; for the author’s life, see “Who Was Yumeno Kyūsaku?”
First, Divide Dogra Magra into Four Parts
If you finished Dogra Magra feeling that you had no idea what you had been reading, the picture becomes much clearer if you first set aside the detailed incidents and relationships and divide the whole work into four parts.
| Part | What happens |
|---|---|
| Part 1 | “I” wakes up in Room 7 and receives explanations from Dr. Wakabayashi |
| Part 2 | “I” reads a large number of documents within the novel |
| Part 3 | Dr. Masaki, who is supposed to be dead, appears and begins a different explanation |
| Part 4 | “I” wanders the city, reads a newspaper extra, and forms his own theory of the truth |
Part 1 | “I” Wakes Up and Receives Explanations from Dr. Wakabayashi
The story begins as “I,” who has completely lost his memory, wakes up in Room 7 of a psychiatric hospital. From Room 6 next door comes the voice of a girl who calls “I” “Brother,” and soon Dr. Wakabayashi Kyōtarō appears. Wakabayashi explains that this is the psychiatric department of Kyushu Imperial University, that there was a professor named Masaki Keinosuke, and that the recovery of “I”’s memory has become an important problem.
After a haircut, a bath, and a face-to-face meeting with the girl, “I” goes with Wakabayashi to the professor’s office. There a mass of material awaits him, intended to stimulate his memory of the past: a portrait photograph of Dr. Saitō Juhachi, specimens, newspaper articles, manuscripts, and more. Up to this point, the book can be read as a fairly ordinary novel: “an amnesiac protagonist is told about his own past by a doctor.”
In the professor’s office, however, a manuscript titled Dogra Magra, said to have been written by a young patient, is already introduced. Its description covers two professors, a young patient, a psychiatric hospital, strange documents, and even a structure that places the same sound of a clock at the beginning and at the end. Before the story turns into a full-blown labyrinth, the foreshadowing of that labyrinth has already begun.
Part 2 | The Story Turns into a Mass of In-Novel Documents
Once Wakabayashi starts having “I” read the materials, Dogra Magra suddenly becomes a different kind of book. Long documents follow one after another: “The Lunatic’s Hell Heretical Liturgy—The Dark Age of the Insane,” “The Earth’s Surface Is One Great Open-Treatment Ward for Lunatics,” “An Absolute Detective Story: The Brain Is Not the Place Where Things Are Thought,” “The Fetus’s Dream,” and “An Unprecedented Last Will and Testament.”
Inside “An Unprecedented Last Will and Testament,” moreover, there are scenes described as if they were a motion picture, conversations between Masaki and Wakabayashi, case materials concerning Kure Ichirō, statements by various people, newspaper articles, a temple’s founding legend, a psychiatric evaluation, and more. It is natural for the reader to wonder, “What happened to ‘I’ in the present?” But the story has not disappeared. The basis of Part 2 is the situation in which the present-day “I” is reading these documents in the professor’s office.
Part 3 | Dr. Masaki, Who Should Be Dead, Appears
Just as the long documents come to an end, the story abruptly returns to the present. And the person who appears is Masaki Keinosuke, who, according to Wakabayashi, should already be dead.
Masaki says that today is October 20. Wakabayashi, however, had earlier explained that today is November 20. Masaki then shows “I” a young man outside the window who closely resembles him and offers bizarre explanations, such as a “soul-separation sickness,” only to retract them as “all lies.” After that, he presents a great many explanations that differ from Wakabayashi’s: the picture scroll, psychic heredity, Ichirō’s birth, the past incidents, a reconstruction using two figures called W and M, and more.
What matters here is that the long documents of Part 2 are not “the correct answer,” and neither does Masaki in Part 3 tell us “the real answer.” Masaki himself piles up hypotheses and conjectures and retracts his own explanations.
Part 4 | The Newspaper Extra and “I”’s Own Reasoning
After Masaki leaves, “I” rushes out of the university and wanders the city. When he eventually returns to the professor’s office, the materials and ink that had seemed new until then have become unnaturally old, covered in dust and mold. He then discovers an extra edition of the Saikai Shinbun newspaper and finds in it an article reporting that Dr. Masaki threw himself into the water and was found drowned. After that, a postcard from M to “Brother W” also turns up.
Having been given this enormous amount of information, “I” finally begins, at the very end, to think for himself about “what happened.” Is he Kure Ichirō? Is Masaki the culprit? Is Wakabayashi continuing an experiment? Is he living through the events of a month earlier a second time? Is today itself perhaps “the Fetus’s Dream”? But all of these are “I”’s own reasoning and nothing more.
Then “I” returns to Room 7, his consciousness falls into confusion again, and the story comes back to a droning of the clock very much like the one at the beginning. This is the broad skeleton of Dogra Magra.
Sorting Out the Characters: You Only Need to Remember Five at First
Many characters appear in Dogra Magra, but there is no need to memorize the entire family tree from the start. It is enough to distinguish the following five.
| Character | Role when reading |
|---|---|
| “I” | The protagonist and narrator who experiences the present |
| Wakabayashi Kyōtarō | The guide who first explains the situation to “I” |
| Masaki Keinosuke | A second guide who appears in the latter half and gives an explanation different from Wakabayashi’s |
| Kure Ichirō | The central figure of the past incidents; whether he is the same person as “I” is at issue |
| The girl in Room 6 / Moyoko | Calls “I” “Brother” and connects the past incidents to the present |
“I”
The first-person narrator who wakes up in Room 7. He cannot remember his name, his family, where he was born, or anything of his past life. The reader begins the story in the same state as “I,” and only gradually, through information supplied from outside—by the girl, Wakabayashi, Masaki, the in-novel documents, and so on—comes to think, “Perhaps this person is Kure Ichirō.” If you read the book having rewritten “I” as Kure Ichirō from the start, you destroy one of the work’s important devices. The identity of “I” is itself a point of discussion in scholarship as well.[2]
Wakabayashi Kyōtarō
Wakabayashi is the guide of the first half. He explains to “I” the hospital, Masaki, the memory experiment, the girl, the incidents surrounding Kure Ichirō, and so on, and in the professor’s office he presents the materials one after another. On a first reading, therefore, it is easy to take Wakabayashi as “the doctor who knows what is going on” or “the person who explains the truth to us.” But Wakabayashi’s statements are, after all, Wakabayashi’s explanations. That Wakabayashi said something is a different matter from its being the objective truth of the fictional world.
Masaki Keinosuke
Masaki is the guide of the latter half, but he himself is deeply involved in the past incidents, the research, and the experiment. Because he explains so much, readers are tempted to think, “At last the author is using Masaki to explain the truth.” Yet Masaki retracts the bizarre explanations he has just given as “all lies,” and in his reconstruction of the incidents using W and M he likewise piles up conjectures and possibilities. He is an important source of information, but Masaki is not the answer to the work.
Kure Ichirō
Kure Ichirō is the young man at the center of the past incidents. His mother, his fiancée, a strange picture scroll, a psychiatric evaluation, psychic heredity—a great deal of the material converges on Ichirō. In addition, multiple sources of information, such as the girl in Room 6, Wakabayashi, Masaki, and newspaper articles, link the present-day “I” to Ichirō. For this reason, the reading that “I” = Kure Ichirō is very strong. In this work, however, one needs to distinguish between “someone called him that” or “someone explained it that way” and the physical identity of the present-day “I” having been independently proven. It is easier to read the book if you keep “I” and Kure Ichirō as separate entries until the very end.
The Girl in Room 6 / Moyoko
The girl who calls “I” “Brother” from the very beginning of the story. She describes herself as “I”’s sister and as his fiancée, and later gives her name as Moyoko. Since Masaki, too, links the girl in Room 6 to Kure Moyoko, the reading that the girl in Room 6 = Moyoko is quite strongly supported. The work also contains, however, bizarre records concerning the bodies of two girls in the past, as well as a girl with a different name who appears in the newspaper extra, so one cannot simply reduce everything, down to the continuity of her body, to a single line. On a first reading, it is enough to stop at this: the present-day girl in Room 6 is treated as Moyoko.
A Map of the In-Novel Documents: Sorting Out “What Am I Reading Right Now?”
What confuses readers of Dogra Magra most is the documents within the novel. The point is not to memorize everything they say, but to check which level the text you are currently reading belongs to. Roughly speaking, there is a nested structure: inside the novel Dogra Magra lies the present of “I”; within that present, Wakabayashi shows him materials; and inside “An Unprecedented Last Will and Testament” there are further case records, testimony, newspaper articles, and so on. There is also a study that discusses the work’s structure in terms of the relationship between “experience” and “cognition”[3].
| Document | Role for the reader |
|---|---|
| The in-novel manuscript Dogra Magra | A manuscript whose structure is uncannily similar to the present-day story |
| The Lunatic’s Hell Heretical Liturgy | An attack on psychiatric hospitals and society, and a plan for open treatment |
| The Earth’s Surface Is One Great Open-Treatment Ward for Lunatics | A talk that serves as an entry point into Masaki’s ideas and research |
| The Brain Is Not the Place Where Things Are Thought | A theory concerning the brain, the body, and the mind |
| The Fetus’s Dream | A theory concerning evolution, cellular memory, and the experiences of ancestors |
| An Unprecedented Last Will and Testament | Presents Masaki’s experiment and the Kure Ichirō incidents together with a mass of materials |
| The Saikai Shinbun extra | Near the end, presents a different record of Masaki’s death and of the incidents |
| The postcard from M to Brother W | Material for thinking about the relationship between Masaki, Wakabayashi, and others |
“Written in a Document” Does Not Mean “Fact”
The most important rule for reading Dogra Magra is not to equate what is written in the in-novel documents with what actually happened in the fictional world.
For example, even if a document explains that “Kure Ichirō committed the crime in a somnambulistic state,” what can be said with certainty from the text is only that this explanation is recorded in that document. Later, another character may say that “that explanation was a lie,” but neither can you automatically decide that the explanation of the person who appears later is the truth.
In other words, in Dogra Magra you need to look not only at “what is written,” but also at “who is saying it, in which document, and from what position.”
Is the In-Novel Manuscript Dogra Magra the Very Book the Reader Is Reading?
In the professor’s office, Wakabayashi shows “I” a manuscript titled Dogra Magra, said to have been written by a young patient. The manuscript is described as containing two professors reminiscent of Masaki and Wakabayashi, a young patient, a psychiatric hospital, the liturgy, the theory of the brain, the theory of the fetus, the last will, case materials, and so on, and even its plan of placing the same sound of a clock at the beginning and at the end is described.
Because this is so strikingly similar to the Dogra Magra the reader is actually reading, it is tempting to think that the in-novel manuscript Dogra Magra = the Dogra Magra the reader is now reading. The text, however, never states explicitly that the two are exactly the same document. Here too, it is better to keep strong correspondence separate from complete identity.
Sorting Out the Two Past Incidents Involving Kure Ichirō
The in-novel documents recount a great many past events involving Kure Ichirō. Following every detail leads to confusion, so first divide them broadly into two incidents.
The First Incident | The Incident Involving Ichirō’s Mother, Chiseko
An incident said to have occurred around Taishō 13 (1924), in which Kure Ichirō’s mother, Chiseko, dies, and Ichirō’s actions before and after her death become the issue. The reader is given more than one kind of information about this incident: Ichirō’s own statement, the interviews and investigation by Mr. W, Masaki’s observations, and Masaki’s later reconstruction using W and M.
In one source, Ichirō’s actions are explained by somnambulism and psychic heredity, while in another explanation anesthesia and the involvement of a third party are suspected. Then, in the latter half, Masaki reconstructs the incident using figures called W and M. It is therefore more accurate to understand that multiple explanations exist for the same incident than to sum it up in a single sentence as “in the first incident, this is what actually happened.”
The Second Incident | The Incident Involving Moyoko
An incident that takes place in April of Taishō 15 (1926) in connection with the wedding of Ichirō and Moyoko. It involves an attack on Moyoko, two girls, a procedure in the dissection room, and descriptions that suggest the swapping of bodies or a resuscitation.
This is one of the most complicated parts of Dogra Magra, but it helps not to forget that the reader never directly witnesses the incident. Most of what we learn about it comes to us through Masaki’s last will, the statements contained within it, Tokura’s explanation, medical records, and so on. Here, too, we need to distinguish the incident itself from what someone wrote about it.
In a typical mystery, after sorting out multiple testimonies, you can draw a single picture at the end: “This is what the incident really was.” To do that with Dogra Magra, however, the reader has to decide which explanations to trust and which to discard. This article therefore does not settle on a culprit here; it goes only as far as establishing that the two past incidents exist and that multiple explanations overlap on them. The culprit, W and M, and the involvement of Masaki and Wakabayashi are examined separately in “What Is the Truth of Dogra Magra?”
What Was “I” Told, and in What Order?
The order in which the incidents happened in the past is completely different from the order in which “I” learns about them. This is one of the main reasons Dogra Magra is so easy to get lost in.
| Order | What “I” learns |
|---|---|
| 1 | He has no memory |
| 2 | The girl in Room 6 calls him “Brother” |
| 3 | Dr. Wakabayashi appears |
| 4 | He learns that there was a person called Dr. Masaki |
| 5 | Wakabayashi tells him that Masaki has died |
| 6 | He learns about a young man named Kure Ichirō who seems to be connected to him |
| 7 | He sees the in-novel manuscript Dogra Magra |
| 8 | He reads a mass of documents about Masaki’s research and ideas |
| 9 | He learns of the two past incidents involving Kure Ichirō |
| 10 | Masaki, who should be dead, appears before him |
| 11 | He hears from Masaki an explanation different from Wakabayashi’s |
| 12 | Masaki himself retracts part of his explanation as “lies” |
| 13 | He hears from Masaki another reconstruction of the incidents using W, M, and so on |
| 14 | On returning to the professor’s office, he finds the materials abnormally aged |
| 15 | He reads a newspaper extra reporting Masaki’s death |
| 16 | He reads the postcard from M to Brother W |
| 17 | “I” himself begins to reason about the truth of the whole |
Looking at this order, you can see why “I” is so confused. “I” has no memory of himself, and into that blank, outside information is poured in this order: the girl’s words, Wakabayashi’s words, the in-novel documents, Masaki’s words, a newspaper article, a postcard. Moreover, these do not fully agree with one another.
In other words, “I”’s sense of “who I am” is not so much recovered through his own memory as constructed from the outside by other people’s words and by documents. Once you understand this, it also becomes easier to see why the protagonist’s identity remains a problem to the very end.
Don’t Give Masaki’s Explanation Special Treatment
Masaki in particular calls for caution. He seems to know a great deal about what happened, and he makes remarks suggesting that he was directly involved in the incidents, so it is tempting to file his explanations after his appearance as “the truth revealed in the latter half.”
Yet about the young man outside the window who closely resembles “I,” Masaki piles up explanations—that they were born of the same woman at the same hour, that their relationship is closer than that of twins, that “I” is suffering from soul-separation sickness, that the figure outside the window is a dream produced by “I”’s memory—and then says that these were a “test of the mind” that made use of them, and that they were “all lies.” In his explanation using W and M as well, he combines possibilities and conjectures rather than simply explaining facts. Masaki, too, must be read as one source of information: “this is how Masaki explained it.”
Sorting Out the Timeline—Though It Never Forms a Single Line
Now, at last, let us try rearranging the story’s time. Since there are several inconsistencies in the details, we look first only at the rough sequence.
| Period | Main events |
|---|---|
| Around Taishō 13 (1924) | The first incident, involving Ichirō’s mother, Chiseko |
| Afterward | The investigation and psychiatric evaluation of Ichirō; research by Masaki and others |
| April, Taishō 15 (1926) | The second incident, surrounding the wedding with Moyoko. On the night of April 26, a procedure involving two girls is recorded as having been carried out in the dissection room |
| May, Taishō 15 (1926) | The scene in the professor’s office on May 2 (Masaki dozing), the psychiatric evaluation on May 3, construction of the open-treatment ward, and so on |
| October 19, Taishō 15 (1926) | The date of Masaki’s last will; events surrounding the open-treatment ward |
| October 20, Taishō 15 (1926) | The date of the Saikai Shinbun extra; the article on Masaki’s death |
| The story’s present | November 20 according to Wakabayashi / October 20 according to Masaki |
The broad sequence of the past can be followed to a certain extent. But when we reach the “present,” time splits.
October 20 and November 20
In the first half, Wakabayashi explains that today’s date is November 20 and speaks of Masaki as someone who died a month ago. If you adopt this sequence, Masaki dies around October 20, and about a month later, on November 20, “I” wakes up.
But Masaki, who appears in the latter half, explains that today is October 20. The Saikai Shinbun extra that “I” reads near the end is also dated October 20. If you adopt this one, you get a different sequence: on October 20 Masaki appears before “I,” and an extra of the same day reports Masaki’s death.
It is impossible to decide from the text alone which is correct. Is Wakabayashi lying, or is Masaki lying? Is “I” re-experiencing the events of a month earlier? Are different times overlapping? Or is there some other reason? The text contains no clear rule for giving priority to one over the other.
What matters is this distinction: it is established that two dates, October 20 and November 20, exist, but it is not established why two dates exist.
Can We Say Flatly That It “Loops”?
From this problem of dates and from the droning of the clock repeated at the beginning and the end, it is possible to read Dogra Magra as a looping story. And since the in-novel manuscript Dogra Magra is also described as being planned to connect its beginning and end with the same sound of a clock, it can be said quite strongly that a circular form exists.
However, the repetition of the clock’s sound is not the same thing as time in the fictional world physically rewinding. Here too, it is better to distinguish the structure that exists in the text from the interpretations drawn from it.
What Is Known, and Where Does the Unknown Begin?
Having sorted things out this far, we can see that Dogra Magra is not a mystery from top to bottom. On the contrary, quite a lot can be established, and beyond that lie points that simply cannot be narrowed down to one answer.
| What can be said quite strongly | What cannot be decided from the text alone |
|---|---|
| “I” wakes up in Room 7 having lost his memory | The present physical identity of “I” |
| The girl in Room 6 treats “I” as her brother and fiancé | The girl’s full identity, including the identity of her body |
| Multiple characters and materials link “I” to Kure Ichirō | Whether “I” = Kure Ichirō can be independently established |
| Wakabayashi explains that today is November 20 | The true present date |
| Masaki explains that today is October 20 | Why the one-month discrepancy arose |
| Wakabayashi explains that Masaki has died | The state of existence of the Masaki who appeared before “I” |
| The Saikai Shinbun extra also carries an article on Masaki’s death | The temporal arrangement of all events, including whether Masaki is alive or dead |
| Masaki says, “The culprit is me” | Whether Masaki acted alone, or whether both W and M were involved |
| W and M strongly correspond to Wakabayashi and Masaki | Whether W can be fully replaced with Wakabayashi and M with Masaki |
| The in-novel manuscript and the present-day story strongly correspond in structure | Whether the two are exactly the same text |
| The beginning and the end correspond through the sound of a clock | Whether it is a physical time loop |
| Near the end, “I” thinks of his experience as “the Fetus’s Dream” | Whether the whole of Dogra Magra is objectively the Fetus’s Dream |
There are two kinds of “I didn’t really get it.” One is the kind that comes from the in-novel documents and character relationships being too complicated, which can be understood once sorted out. The other is the kind in which the text itself leaves multiple possibilities open, so that no single answer emerges no matter how you sort it. Confusing these two produces the impression that Dogra Magra is a novel in which nothing can be understood. In reality, a great deal of it can be sorted out. And the indeterminacy that remains after sorting is precisely an important part of this work.
When Reading Dogra Magra, Add “According to Whom?”
If you reread the book, remembering just one thing will make it much easier to read: every time you read a sentence, add “according to whom?” in your head.
Read not “Dr. Masaki died a month ago,” but “According to Wakabayashi, Dr. Masaki died a month ago.” Not “‘I’ is Kure Ichirō,” but “The girl, Wakabayashi, Masaki, and multiple documents link ‘I’ to Kure Ichirō.” Not “Ichirō committed the crimes because of psychic heredity,” but “In one in-novel document, Ichirō’s incidents are explained by psychic heredity.” Not “Today was the Fetus’s Dream,” but “Near the end, ‘I’ wonders whether today might be the Fetus’s Dream.”
This small rephrasing alone puts Dogra Magra into much better order. The events that occur in the work, the explanations given by characters, the records written in documents, and the reasoning of “I” himself stop blending together in your head as the same kind of “fact.”
Conclusion: Dogra Magra Comes into View When You “Read It Separately”
If you were confused after reading Dogra Magra, there is no need to conclude that it was too difficult for you. This novel is built so that characters’ testimony enters into the present-day events, in-novel documents enter into that testimony, and further testimony and articles enter into the documents. What is more, this information does not fully agree.
So the first thing to do is not to “guess the truth” but to separate the information: what “I” directly experienced, what Wakabayashi explained, what Masaki explained, what was written in the in-novel documents, what was reported in newspaper articles, and what “I” himself reasoned at the end. Once these are separated, most of the work becomes quite clear.
After that, certain questions remain: Is “I” really Kure Ichirō? What did Masaki and Wakabayashi do? Who are W and M? Is the present October 20 or November 20? Why did Masaki, who had died, appear? Does the story really loop? Is the whole work “the Fetus’s Dream”? This is where the “interpretation” of Dogra Magra finally begins.
Reading closely does not mean forcing a solution to the mystery. It means first separating precisely what is known from what is genuinely a mystery. Dogra Magra can be understood to a considerable degree once it is sorted out. And it is made so that something still remains that cannot be understood even after sorting.
The next article, “What Is the Truth of Dogra Magra?,” examines the problems left over here—the identity of “I,” Masaki and Wakabayashi, W and M, the two dates, the loop, “the Fetus’s Dream,” and more—by comparing the textual evidence.
About the Research for This Article
This article takes the text of Dogra Magra published on Aozora Bunko as its standard, and checks the characters, incidents, in-novel documents, testimony, and timeline against the text. In doing so, it distinguishes between “what ‘I’ experiences on the spot,” “what characters explained orally,” “what is recorded in the in-novel documents,” and “what cannot be narrowed down to one answer from the text alone”[1].
In particular, regarding the present date, whether Masaki is alive or dead, the identity of “I” and Kure Ichirō, the girl in Room 6, W and M, the in-novel manuscript Dogra Magra, the circularity of the beginning and end, and “the Fetus’s Dream,” this article does not force conflicting descriptions into a single correct answer. Its purpose is not to propose a new theory of the truth, but to separate the structure that can be confirmed from the text of the work from the interpretations that go beyond it, and to make a map for rereading.
Notes
Most sources below are in Japanese. Original titles are given with English translations in brackets.
[1] The full text of Yumeno Kyūsaku’s 『ドグラ・マグラ』 [Dogra Magra] is published on Aozora Bunko. According to the Aozora Bunko catalogue card, the source text for the published version is ちくま文庫『夢野久作全集9』 [Chikuma Bunko, Complete Works of Yumeno Kyūsaku, vol. 9] (Chikuma Shobō, 1992).
青空文庫「ドグラ・マグラ」図書カード [Aozora Bunko: Dogra Magra catalogue card]
[2] A study that deals directly with the identity of “I” is Abe Miyuki, 「夢野久作『ドグラ・マグラ』論――〈私〉とは何者か――」 [On Yumeno Kyūsaku’s Dogra Magra: Who Is “I”?], 『尾道市立大学日本文学論叢』 [Onomichi City University Studies in Japanese Literature], no. 11, 2015, pp. 173–188.
CiNii Research: 安部美幸「夢野久作『ドグラ・マグラ』論――〈私〉とは何者か――」 [Abe Miyuki, “On Yumeno Kyūsaku’s Dogra Magra: Who Is ‘I’?”]
[3] A study that discusses the work’s structure in terms of the relationship between “experience” and “cognition” is Tanaka Masashi, 「体験と認識――夢野久作『ドグラ・マグラ』の構成について」 [Experience and Cognition: On the Structure of Yumeno Kyūsaku’s Dogra Magra], 『言語文化研究』 [Studies in Language and Culture] (Faculty of Integrated Arts and Sciences, Tokushima University), no. 10, 2003, pp. 87–108.
CiNii Research: 田中雅史「体験と認識――夢野久作『ドグラ・マグラ』の構成について」 [Tanaka Masashi, “Experience and Cognition: On the Structure of Yumeno Kyūsaku’s Dogra Magra”]
References and Main Sources
Text of the Work
Yumeno Kyūsaku, 『ドグラ・マグラ』 [Dogra Magra]. The standard source used for checking the text in this article.
青空文庫「ドグラ・マグラ」図書カード [Aozora Bunko: Dogra Magra catalogue card]
Studies and Readings
Abe Miyuki, 「夢野久作『ドグラ・マグラ』論――〈私〉とは何者か――」 [On Yumeno Kyūsaku’s Dogra Magra: Who Is “I”?], 『尾道市立大学日本文学論叢』 [Onomichi City University Studies in Japanese Literature], no. 11, 2015, pp. 173–188.
CiNii Research
Tanaka Masashi, 「体験と認識――夢野久作『ドグラ・マグラ』の構成について」 [Experience and Cognition: On the Structure of Yumeno Kyūsaku’s Dogra Magra], 『言語文化研究』 [Studies in Language and Culture] (Faculty of Integrated Arts and Sciences, Tokushima University), no. 10, 2003, pp. 87–108.
CiNii Research
Yamaguchi Ryūsuke (山口隆介), 「夢野久作『ドグラ・マグラ』『絶対探偵小説 脳髄は物を考える処に非ず』解釈ノート――脳髄は物を考える処でもある――」 [Interpretive Notes on “An Absolute Detective Story: The Brain Is Not the Place Where Things Are Thought” in Yumeno Kyūsaku’s Dogra Magra: The Brain Is Also a Place Where Things Are Thought], 『聖泉論叢』 [Seisen Ronsō], no. 26, pp. 33–44.
CiNii Research
Translated from the Japanese original, “『ドグラ・マグラ』読解｜読んだけれどよくわからなかった人のためのガイド”. Quotations from Japanese sources are our own translations.