著者

河村 晃太郎

出版者

関西大学

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.38, pp.65-81, 2005-04-01

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Su Dongpo is one of the most prominent poets in the Song period. In this paper, I examined his thoughts and attitude on art and literature around the time of his exile. As he opposed the political reform by Wang An-shi (王安石), he was impeached for writing many verses which were regarded as lese-majesty. He was exiled to Huang Zhou (黄州) in 1071. Though he didn't write many poems at this time, he devoted himself to drawing. Though this experience he began to realize that both drawing pictures and composing poems were originated from the same source of creation. Just before he was exiled, he recalled his friend, Wen Tong (文同), and wrote an essay about him. Su Dong-po referred to technical skills on drawing, saying "Imagine a bamboo drawn perfectly in your mind and should tackle it." Although he mentioned about drawing, it can be read as a criticism on verse. It might be too much to say that a person who can write poems can draw pictures, but at least Su Dong-po thought that it was verses that give pictures profundity.

著者

薗田 香融

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.22, pp.1-36, 1989-03-31

著者

木岡 伸夫

出版者

関西大学

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.41, pp.六三-七五, 2008-04

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Le problème de la «rencontre avec le monde moderne» se réduit à deux questions : «Comment les hommes européens ont-ils rencontré les autres 'inconnus' jusqu'alors ?» et «Quelles réflexions ont-ils eu sur eux-mêmes à travers cette expérience de rencontre ?». On doit presque nécessairement vivre entre «décentralisation» et «recentralisation» lorsqu'on sort de son propre monde afin d'entrer dans un nouveau monde qui nous est étranger. C'est justement le cas d'Augustin Berque qui s'est mis en relation extrêmement cordiale avec le Japon.La rencontre avec le Japon n'était pour lui pas autre chose qu'un processus d'établissement de la mésologie (fûdogaku) en tant que discipline. Comme le sens des milieux (fûdo) s'exprime en paysages dans la théorie mésologique, Berque ne put s'empêcher de s'accoutumer, dans ses études sur la culture japonaise, à ces paysages très différents de ceux dans son pays. La diversité des expressions paysagères se fond sur la pluralité des «types» de culture. Il devait donc «décentraliser» en comparant la culture japonaise avec celles de l'Europe, ce qui constitua une étape nécessaire à sa réflexion sur lui-même.Il n'en est pas de même des recherches urbaines, parce qu'on n'aperçoit dans toutes les villes qu'un seul prototype : l'union de la substance physique (astu ; ville ; town) et de la communauté spirituelle(polis ; cité ; city), laquelle est typique des villes historiques à l'Occident. Pour ce qui est de l'unité complète de la «structure» et du «sens», on ne l'a trouvé nulle part ailleursque dans les villes européennes de tout temps historiques. C'est pourquoi Berque leur accorde une position de modèle idéal.Il nous marque son attitude de «recentralisation» en ce qu'il fait de la ville occidentale son cadre de référence. Pourtant ce n'est pas de l'ethnocentrisme, car il fait aussi du Japon une sorte de miroir réfléchissant sur lui-même et il fait par cela même le trajet entre «décentralisation» et «recentralisation», c'est-àdire qu'il accomplit une dialectique proprement mésologique. Et ce qui y joue un rôle de médiateur n'est pas le Japon, ni l'Europe, mais l'Amérique. Une triade «Japon-Amérique-Europe» apparaîtra ainsi avec l'intérêt de se situer dans une structure multipolaire internationale.Le Japon fonctionne alors comme miroir en ces sens : il reflète avant tout l'image positive ou idéale de la France(ou de l'Europe) et puis celle de l'Amérique avec sa réalité négative. Il reflète enfin l'image négative de l'Europe qui se laisse ronger par son double ennuyeux, l'Amérique. Tout cela signifie qu'il y a toujours, dans la pratique de la mésologie, un processus circulaire de «décentralisation- recentralisation». C'est ainsi que le «centre» se prépare à échanger sa place avec la «périphérie».

著者

李 暁辰

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 = Bulletin of the Institute of Oriental and Occidental Studies, Kansai University (ISSN:02878151)

巻号頁・発行日

no.50, pp.271-285, 2017-04

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In this paper, I will examine academic activities and the human network at Keijō Imperial University, focusing on the 'Assistants Association of the Department of Liberal Arts'. This association was established in April 1934 by Nakayama Iwamitsu (中山岩光), Takeshita Teruhiko (竹下暉彦), Park Chi-woo (朴致祐), Shūda Tatsuo (習田達夫), Sano (佐野道), and Shōji (庄司秀一). They gathered 44 members in a year and a half. Most of the members had experience as assistants at Keijō Imperial University, and most of the assistants were graduates after 1929, when Keijō Imperial University started producing graduates. They held regular lectures more than 10 times between 1934 to 1935, and published the journal Gakkai twice in 1935. The two journals published contain 17 articles and three poems written by members of the association. This association is important because it gives us a clue about how young Korean and Japan scholars communicated in that period, and helps us understand what the role of the assistant position in Imperial University was like.

著者

奥村 佳代子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.43, pp.131-142, 2010-04

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There are two types of Chinese-language translations of the Japanese joruri (narrative drama) work "Kanadehon Chushingura" (The Treasury of Loyal Retainers: A Model for Emulation). "Chushingura Engi" (An Adaptation of The Treasury of Loyal Retainers) is a work translated by Nagasaki To Tsuji (Japanese interpreters of Chinese located in Nagasaki), and "Haiwai Qitan" (Tales of the Strange, a colloquial Chinese-language translation of Chushingura) is a work completed by a Japanese intellectual. Both works were translated in the Edo Period."Haiwai Qitan" (Tales of the Strange) was long ignored as a Chinese language source, but comparing it with "Chushingura Engi" (An Adaptation of The Treasury of Loyal Retainers) revealed that it depicts the results of a Japanese intellectual learning a foreign language, i.e. Chinese.This paper begins by looking at the heterogeneity of vocabulary found in "Chushingura Engi" (An Adaptation of The Treasury of Loyal Retainers) and the diverse vocabulary found in "Haiwai Qitan" (Tales of the Strange). It then examines how "Chushingura Engi" (An Adaptation of The Treasury of Loyal Retainers) is reworked in "Haiwai Qitan" (Tales of the Strange). Finally, the paper profiles the translator of "Haiwai Qitan" (Tales of the Strange) and discusses his translation style.

著者

原田 正俊

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.46, pp.17-31, 2013-04

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In medieval Japan, the eight kenmitsu (exoteric-esoteric) Buddhism sects: the six sects of the Southern capital, the Tendai sect, and the Shingon sect, established orthodox Buddhism and became the mainstream of the Buddhist rituals. In the Kamakura period, however, Zen monks introduced Chinese Buddhist services and ascetic rules from Southern Sou and Yuan, from which point on the new Chinese-style Buddhist services spread into the Japanese society. During the Muromachi period, the zen Buddhist services started to incorporate Japanese elements, which was a new turn Japanese Buddhism took. Mannen-san Shokoku Jotenzen-ji ekou narabini sho, a document brought to one of the five great Zen temples in Kyoto, Shokoku-ji, provides important information on Zen Buddhist services during the Muromachi period and shows extensive practice of Zen services during that time. This paper analyses the structure and the content of this historical document, which has not been fully examined. The Shokoku temple was built by Ashikaga Yoshimitsu, who united the court nobles and samurai warriors. Yoshimitsu constantly performed big Buddhist services in this temple, through which the Muromachi shogunate promoted Buddhist policies to the public.

著者

毛利 英介

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.49, pp.549-567, 2016-04-01

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研究ノートTwo treaties were concluded between the Khitai and the Northern Song, in 1004 and 1042 respectively. The first is famous as the Treaty of Shanyuan; the second, the subject of the present paper, is referred to as "the revised treaty." A set of documents, known as the Guannan Oath, was exchanged between the Khitai and the Northern Song when the revised treaty was signed in 1042. The present paper specifically addresses the following:▪ A translation of the Guannan Oath into modern Japanese, and an analysis of itscomposition as a text.▪ A comparison of the provisions of the Guannan Oath with those of the Shanyuan Oath.▪ An evaluation of the historiographic value of the text of the Guannan Oath as contained in Sanchao beimeng huibian, which up to now has been overlooked.

著者

周 振鶴 紅粉 芳惠 陳 娟

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

pp.3-12, 2012-04

著者

和田 葉子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.48, pp.127-136, 2015-04-01

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London, British Library, MS Harley 913, dated to around 1330, contains Lollai, a poem of six stanzas, thought to be the earliest lullaby in English. Although the Latin version of this work is found on a different folio of the same manuscript, it consists of only two stanzas which correspond to the first two in the English. This paper discusses the relationship between the two versions, investigating which was the original, and attempts to explain why the Latin version has no more than two stanzas.

著者

角山 幸洋

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.23, pp.A83-A140, 1990-03-31

著者

吾妻 重二 井上 克人 丹治 昭義

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.33, pp.1-26, 2000-03-31

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神秘主義研究班

著者

吾妻 重二 井上 克人 丹治 昭義

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.36, pp.115-132, 2003-03-31

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神秘主義研究班

著者

吾妻 重二 井上 克人 丹治 昭義

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.34, pp.63-79, 2001-03-31

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神秘主義研究班

著者

井上 克人 薗田 香融 川﨑 幸夫 丹治 昭義 吾妻 重二 木村 宣彰

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.31, pp.51-77, 1998-03-31

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神秘主義研究班

著者

吾妻 重二 井上 克人 丹治 昭義

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.38, pp.31-52, 2005-04-01

著者

藤本 勝次

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.1, pp.A25-A43, 1968-03-30

著者

齊藤 茂雄

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.48, pp.77-99, 2015-04-01

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This paper investigates the process by which regional commanders were selected during the early period of Tang Chinese "loose-rein" rule over Turkic tribes following the defeat of the First Türk Qaghanate 突厥第一可汗国 in 630. On the basis of this investigation, it demonstrates that the even before Li Shimin ascended the throne as Emperor Taizong 太宗, the second Tang emperor, these commanders had been selected from among the men who had rallied to his support in his campaigns to pacify northern China (Shi Shanying 史善應, Shi Danai 史大奈), or from Türks who had become his allies or formed other personal relationships with him (Ashina Shibobi 阿史那什鉢苾, Ashina Zhong 阿史那忠, Ashina Shimo 阿史那思摩, and Ashina Sunishi 阿史那蘇尼失). Only one among them, Kang Sumi 康蘇密, remains a mystery due to inadequate historical source materials. This research has confirmed that the loose-rein policy of control of the Türks throughout Taizong's reign was conducted principally by these commanders selected at the beginning. But, since a number of these individuals had been of low rank or status during the First Türk Qaghanate, they were unable to gain the support of the Turkic people, and this system of rule collapsed for a time. However, from the reign of Gaozong 高宗onward, a more realistic system of control was initiated, and the loose-reign policy attained its most perfected state.

著者

中谷 伸生

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.48, pp.1-29, 2015-04-01

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Nichosai was a painter of giga (humorous pictures) probably born before 1751 (Horeki 1), active during the Annei (1772–81) and the Kyowa (1801–04)periods, and thought to have died in either 1802 (Kyowa 2) or 1803 (Kyowa 3). His artistry had matured by the Kansei period (1789–1801). The hanpon (woodblock-printed illustrated books) Nichosai was involved with have been the subject of previous research by Hida Kozo, yet his research was comparatively brief. In this paper, the author discusses the illustrations Nichosai made for these books, a topic that has as yet received little attention from scholars, focusing on the unique characteristics of his style. Nichosai published four works of hanpon while he was alive, and two more were published immediately after his death. In addition, he drew occasional illustrations for various other books, and with Hida's introduction to work as a guide, this paper will touch briefly on the development of Nichosai's book illustrations. This will help elucidate the development of Nichosai's style as a book illustrator, and deepen our understanding of its relationship to his giga.

著者

陳 贇

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.42, pp.113-131, 2009-04

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Consisting of four chapters, this paper discusses the development of the phonetic term hassō (発想). The first chapter traces the root of the term and reveals that it was initially used as a musicological term. It can be found in classical Chinese to intend "to think a way for a purpose". However, it is difficult to find similarity between the original meaning of hassō in Chinese and that in Japanese. For another thing, the paper traces the changing process of hassō in which this initially musicological term was transformed into the literary term, promoted by writers in the end stage of Meiji era; such as Iwano Hōmei (岩野泡鳴). Moreover, the paper analyses the transition of its meaning from "representation" to "idea", then to "way of thinking". In the final chapter, the actual utilization of hassō in Meiji Japanese and modern Chinese is observed. Furthermore, the transmission and adaptation of the vocabulary is evaluated through this particular term.

著者

蜷川 順子

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

no.41, pp.3-22, 2008-04

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A View of Delft preserved at the Mauritshuis in The Hague is well known as a rare cityscape by Johannes Vermeer (1632-1675), who otherwise depicted mostly interior everyday life. Kenneth Clark, the English art historian who published the Landscape into Art in 1949, described it as "like a postcard" to underline its property as the truth of the total view, commenting that no particular part would catch beholders' eyes. On the other hand, Marcel Proust, the French novelist who inserted a scene of Bergotte's death in front of the painting into A la Recherche du Temps Perdu (1913-27), emphasized the beauty of a particular part of yellow wall in the composition. It makes us notice that the very source of light exists out of the painting and then that the tower of the New Church of Delft is also illuminated by the light in the center of the city. As the tomb of Willem of Orange the Silence is located in the church, some scholars indicate that the connection between the city and the house of Orange is herewith intentionally underlined. Therefore, we may infer that there is a twofold aspect of the modern for the Europeans: the uniform or scientific view and the particularized or intentional view on the surroundings. The author is to compare the modern imagery with the medieval one in order to make the former clearer. Concerning the uniform or scientific view, the history of the cityscape of Jerusalem is most worth noticing. Jerusalem became the prototype of European or Christian cities since the publication of De Civitate Dei by Augustine in the 5th century. It gave an ideal imagery of city, which should be constructed from artificial matters by the efforts of devotional people. It contrasts to that of nature, including the nature in the human being, which had only negative meaning for the early medieval Christians. The images of medieval city were filled with buildings, or churches, within the city wall, while surrounding nature of the city had gotten to be depicted or appropriated little by little in diverse images towards the era of Renaissance. The landscape, the original meaning of which is considered to be the issue of property, was depicted as scenery of nature where people were laboring, enjoying, observing etc., viewed from the city or the owner's house. The cityscape of Jerusalem was changed in the fifteenth century from the older type to the new one, which became surrounded by nature or filled with greens. When both the city and the nature of surroundings were viewed with the same appropriation, people obtained the germ of the linier perspective, the system of scientific view, namely the uniform view over the world. The linier perspective, on the other hand, proscribed the position of a viewer, which could in its turn related to the particularized or intentional view on the surroundings. In the sixteenth century, for example, when God was far less visualized in the way with similitude, the bird's-eye perspective found among the so-called world landscape seems to indicate the very place of the invisible God. It was also the age of discovery for the Europeans and both the geography and the topography were rapidly developed with map- and landscape-making relating each other. In the seventeenth century, lots of landscapes of non-European regions were made on the model of drawings made by VOC people etc., reflecting diverse intentions of image makers. These images aroused the concerns of beholders toward the depicted imagery of foreign places.