文献一覧: 土田耕督 (著者)

3 0 0 0 OA 中世和歌における古歌再利用意識の展開とその芸術学的射程

著者: 土田耕督ツチダコウスケ Tsuchida Kosuke

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2016-07-01 18:38:49
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http://hdl.handle.net/11094/24948

2 0 0 0 OA 「あたらし」/「めづらし」

著者: 土田耕督
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.69, no.1, pp.1, 2018 (Released:2019-06-01)

In the beginning of the thirteenth century, during the Shin-kokin period, waka poets followed classicism, reusing words and subjects from old poems. At the same time, they were in pursuit of atarashiki kokoro, or new content. New kokoro does not represent perfect newness that has never been composed; it represents content that overlaps with the classics. Moreover, the word atarashi has ambiguity; while new content is indeed ideal, novel subjects and how to use words are avoided. On the other hand, the word mezurashi means a kind of unexpectedness achieved by using old words in different contexts from past works. Mezurashi becomes especially significant in post-Shin-kokin waka. Nevertheless, since the fifteenth century, old poetry has begun to be ignored, and the focus has shifted to the kokoro of an individual poet. Atarashi, implying a newness that nobody has composed before, is emphasised and involves mezurashi. Such idealisation of novelty, which is regardless of differences from the old, brings the modern meaning of ‘originality’ to medieval waka. However, the classicism of waka never died until the modern era. Autonomous systems that identify differences from the classics as a norm have existed; thereby waka has acquired the extendibility and sustainability of composition.

1 0 0 0 OA 中世和歌連歌に見る〈即興感〉の演出と〈即興〉の成立条件

著者: 土田耕督
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.70, no.2, pp.162, 2019 (Released:2021-05-08)

2022-09-24 21:44:00
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1 0 0 0 「あたらし」/「めづらし」:中世和歌に見る価値判断の変遷と〈独創性〉の出自

著者: 土田耕督
出版者: 美学会
雑誌: 美学 (ISSN:05200962)
巻号頁・発行日: vol.69, no.1, 2018

In the beginning of the thirteenth century, during the Shin-kokin period, waka poetsfollowed classicism, reusing words and subjects from old poems. At the same time, theywere in pursuit of atarashiki kokoro, or new content. New kokoro does not representperfect newness that has never been composed; it represents content that overlaps withthe classics. Moreover, the word atarashi has ambiguity; while new content is indeedideal, novel subjects and how to use words are avoided. On the other hand, the wordmezurashi means a kind of unexpectedness achieved by using old words in differentcontexts from past works. Mezurashi becomes especially significant in post-Shin-kokinwaka.Nevertheless, since the fifteenth century, old poetry has begun to be ignored, and thefocus has shifted to the kokoro of an individual poet. Atarashi, implying a newness thatnobody has composed before, is emphasised and involves mezurashi. Such idealisationof novelty, which is regardless of differences from the old, brings the modern meaningof 'originality' to medieval waka.However, the classicism of waka never died until the modern era. Autonomoussystems that identify differences from the classics as a norm have existed; thereby wakahas acquired the extendibility and sustainability of composition.