文献一覧: 朱衛紅 (著者)

3 0 0 0 IR 物語としての連作短歌 : 俵万智「八月の朝」論

著者: 朱衛紅 Zhu Weihong
出版者: 筑波大学比較・理論文学会
雑誌: 文学研究論集 (ISSN:09158944)
巻号頁・発行日: no.28, pp.1-16, 2010-02-28

https://ci.nii.ac.jp/naid/120002041963

2 0 0 0 OA 現代短歌に詠われた「上海」 : 現代歌人たちの中国旅行詠を分析して

著者: 朱衛紅
出版者: 筑波大学比較・理論文学会
雑誌: 文学研究論集 (ISSN:09158944)
巻号頁・発行日: no.31, pp.1-15, 2013-02-28

2019-03-15 20:09:05
2 + 0 Twitter

http://hdl.handle.net/2241/118632

1 0 0 0 OA 研究発表佐藤春夫「春風馬堤図譜」の模倣とオリジナリティ

著者: 朱衛紅
出版者: 国文学研究資料館
雑誌: 国際日本文学研究集会会議録 = PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:03877280)
巻号頁・発行日: no.27, pp.169-184, 2004-03-01

Sato Haruo’s “Shumpûbatei Zufu” (“Zufu”) is the script of an adaptation of the Edo period poet Yosa Buson’s “Shumpûbatei Kyoku” (“Kyoku”) for silent film.Although there is nothing unusual about writers in and before Satô Haruo’s adapting Edo period works into novels, the transformation into a script was unusual. Therefore, this presentation aims at a comparative analysis of Satô Haruo’s “Zufu” and Buson’s “Kyoku” and scrutinize at, first, how Satô Haruo understood and interpreted Buson’s poetry and, second, why did the adaptation take the form of a script rather than a novel. Through this I would like to consider the problems that can be noticed in Satô Haruo’s imitation and originality.“Kyoku” combines Haiku, Waka, and Chinese five-syllable poetry into a mixed-style work, which seems only to follow a chain of images, but is in fact scenery reflected in the eyes of a girl returning home on a holiday. The chain of images clearly produces a picturesque effect, but what is important is that the images are moving rather than still, which in turn produces a cinematographic effect.Satô Haruo most likely have realized this visual, cinematographic aspect and created “Zufu”. I would start with an analysis of this point. And move onto take a closer look at how the scene in the girl’s view was transformed into the scene of the film. “Zufu” would focus not only on the girl, but also on the aged Haiku poet. Third, I would look at the problems presented by various things including poems by Buson that were not present in “Kyoku”. Upon close look at it becomes clear that the poems filled with illusory and southern Chinese painting imagery. In addition, the focus is placed on the monkey performance, which is not observed in either in “Kyoku” or in Buson’s poetry. Through this I would like to look at Satõ Haruo’s originality as it transforms beyond the confines of Buson’s poetic world.