著者
勝亦 志織
出版者
日本文学協会
雑誌
日本文学 (ISSN:03869903)
巻号頁・発行日
vol.65, no.5, pp.39-48, 2016-05-10 (Released:2021-05-31)

本論は『大和物語』における「歌語り」の記録の方法について考察したものである。各章段の採録には取捨選択がなされ、すでに広く流布していた話題は「記録しない」という方法があることを指摘した。そのうえで、歌物語(『大和物語』)・勅撰和歌集(『後撰和歌集』)・私家集(物語的私家集)という記録方法は違えど歌物語化した世界の総合的な再検討を促すものである。
著者
勝亦 志織
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
vol.11, pp.1-13, 2011

What on earth do you think being invisible on stage is like? In this thesis, writer is going to discuss a theatrical work titled "Takarazuka Revue Company Moon Troup Performance "The Floating Bride of Dreams", from two view points such as issues incurred by putting a work of classic literature on stage and how the dramatized work was accepted and appreciated. Dramatization of the Tale of Genji has particularly been enjoying a longer history than so many other works of classic literature and is with variety of facets. "The Floating Bridge of Dreams" picked up here is a piece of work based on the Ten Uji chapters of the Tale of Genji and has Niou no Miya as the leading actress. Needless to say, this particular play was caught up under the restriction given by the "Takarazuka Revue". This thesis employed the first princess of the fourth Emperor who plays an important role both in the story and in the play, with a view to discuss significance of invisibility on the stage, in the light of characteristic features of the "Takarazuka Revue". Thus, the writer discussed the matter of putting the work of classic literature on the stage and proceeded to cover the issue of imaging, having been developed from dramatization.