本稿以日本近代文學研究中被認爲是過去遺物一般存在的「文學史」研究爲基礎，並將重點擺在重新審視文學研究的方法。本稿將針對處於政治性緊迫中，並造就百花齊放的文學種類以近代文學之姿越發成熟的1910年，夏目漱石與石川啄木的文學接觸點的意義層面上以文學史的觀點進行考察。漱石文學立場之根本乃在於對現代文明採取批評家的觀察角度。此觀點由漱石自覺是都市漂泊者一事更加深化，並給予了年輕的文學世代很大的影響。而對於漱石的影響感受最敏感並加以吸收的啄木以〈時代閉塞的現狀〉之一評論與歌集《一掬之砂》使近代文學此一文學種類越發成熟外，並讓1910年此年成爲文學史上劃時代的一年。
This essay is based on the methodology of "literature history," which has been regarded as old leftover of the past in the research field of Japanese contemporary literature, and puts its focus on reexamination of the methodology of literal study. This essay would point up the year of 1910, when varied literal genres were blooming and maturing in roles of contemporary literal works under the circumstances of political tension, in order to exam the meaning of Natsume Souseki and Isikawa Takuboku's literal contact point from the point of view of "literature history." Natsume Souseki's literature rooted in his observation angle as a critic of modern civilization. After Natsume Souseki had recognized himself as a city wanderer, this point of view turned to be deepened and provided the younger literal generation with critical influence. Isikawa Takuboku, who was affected by Souseki's influence most profoundly, published his criticism "Zidaiheisa No Genzyou" and poetry collection Ichiaku No Suna in 1910. These two works of Isikawa Takuboku advanced the mature of this literal genre in contemporary literature, and above all, made 1910 as a critical year in literature history.
