著者
ドゥエ フランソワーズ 黒木 朋興
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
no.8, pp.74-84, 2008-03-31

Highly influenced by Dumarsais's treatise On Tropes (1730), French rhetoric in the 18th century was "restricted" to the study of models of signification or tropes. I shall propose here four historical counter-arguments to this thesis put forward by Gerard Genette in 1970. First, in the 18th century there is no relevant break in French rhetoric since it remained unrestricted from 1598 to 1885. Second, considered a grammar by its own author and a poetics by its contemporaries, the treatise On Tropes is not in fact significantly representative of the evolution of rhetoric. Third, even in the treatises of rhetoric influenced by Dumarsais, the part assigned to tropes remained unchanged throughout the 18th century. Fourth, some other aspects of rhetoric structure reveal a considerable amount of mobility in the 18th century: action, passions, design, models of construction and styles. In brief, though stimulating in 1970, this thesis of "restricted rhetoric" has nowadays become an epistemological obstacle to the understanding of the history of rhetoric in France.
著者
市沢 哲
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
vol.10, pp.84-95, 2010-03-31 (Released:2018-03-27)

Emperor Hanazono was a retired emperor at the margins. As such, he used scholarship as a tool to counter the courtiers who frequently employed the Daikakuji line and the continuation of the family for their own interests, and to justify his own position. Consequently, such scholarship was not intended to redesign the scheme that stressed the lord-vassal relationship as based on propriety (rei) and the concept of the transfer of heaven's mandate (ekisei kakumei), but it resembled "the king and the subject" (taigi meibun) concept. Moreover, Hanazono's praising of the scholarship surrounding Emperor Go-Daigo was a way for him to underscore his own superiority. Needless to say, Hanazono's learning did not exist as an independent entity but contained important political and historical aspects. The issue of fourteenth-century scholarship, especially Neo-Confucianism, has come to be viewed as a reception of Emperor Go-Daigo's political scheme and the concept of the transfer of heaven's mandate. Within this context, The Diary of Emperor Hanazono has often acted as a source for frequent reference. Previous studies have tended to de-contextualize the individual descriptions of the events and Hanazono's views on scholarship as recorded in The Diary. Finding this problematic as an approach, I argue for the importance of contextualizing these descriptions within the frame of The Diary, and propose a new reading.
著者
一柳 廣孝
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
no.9, pp.12-19, 2009-03-31

In contemplating over how the recently established vindictive impression of "yuurei" (ghost) has changed during post-modern times, we shall attempt to heed to the notion of "shinrei" (spirit) as a medium. "Shinrei" was started to be applied in the context of spiritualism which was tinged by psychological and religious traces of the New Age during the "hanmon no jidai" (years of anguish/agony) in the mid thirty years of the Meiji Period. In respect of "reikon" (soul spirit) and "tamashii" (soul) that are deeply intertwined with the religious beliefs of the previous era, "shinrei"? was accepted as a new concept that wiped out earlier (former) images, in addition to being regarded as a key item concerning the debate over the actual existence of a "shinrei" from a scientific perspective. Thus, "shinrei" became the newly defined term in modern place. The main discourse in this study reflects over the expressions "shinrei" and "yuurei", especially employed from the late-Meiji era to the beginning of the Taisho period.
著者
北條 勝貴
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
no.9, pp.20-31, 2009-03-31

In ancient China, it was originally thought that a person who suffered an abnormal death became a demon and committed evil to the living. The general procedure (fashion) in dealing with demons involved solely elimination through a ritual of confrontation, not a religious service. Although sentiments among the people started to upset such customs (traditions), during the Zhanguo Period thereafter, religious practices pertaining to demons became commonalized via national intervention. It was in the bereaved seeking to deliver (redeem) the dead in agony (in anguish) that led to the nation's involvement in addressing those who had undergone an unnatural death. Hence, the more intimate the deceased is to one, man (mankind) cannot help but speak on behalf of the departed. However, those statements after all are plagiarisms of the account of the dead that attempt to preserve (maintain) and reinforce the legitimacy (rights) of the individual and community. Only the very dead can determine the meaning of death ; rather, only can we cultivate (nurture) our sensitivity toward the voices of the expired. In fact, since that in itself is a difficult task that requires the potency of a tough and flexible mind, it may therefore turn into an opportunity to relativize the existing (current) frame of reference.
著者
西野 厚志
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
no.9, pp.45-59, 2009-03-31

Jacques Derrida, a philosopher known for "deconstruction" is said to have made an "ethical turn" after the 1980s. The very declaration of "Deconstruction is Justice" in even the "Force of Law" (1994), was a significant event that clearly illustrated an "ethical turn". At around the same period in time, while Derrida argued against the philosophy of Heidegger in "Of Spirit" (1987), following the "ethical turn", he discusses the term "Geist", a keyword he utilizes in referring to ghostly apparitions which also suggests "spirit". This study disputes the potentials verses the risks of the "ethics" that Derrida presents, in comparing the "Force of Law" and "Of Spirit".
著者
鹿島 徹
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
no.13, pp.24-38, 2013-03-31

As a response to the prospectus (shui-bun) of the symposium of Monogatari Kenkyukai in Summer 2012, and with regard to the recent discussion concerning methodology of historiography in Japan, this essay both tries to make the significance of procedure of historical verification clear and criticizes the positivist self-understanding of many historians. It takes up HAGITANI Boku's study of Tosa nikki as an example to show how highly specialized research of traditional Japanese literature has the potential of contributing to the discovery of traces of unrecorded existence of "forgotten ones," and makes us aware of a similar kind of people in the present society, referring to the historical theory of Walter Benjamin's "On the Concept of History." In the aforementioned situation, it isn't a narrative/story, but a Gild (image) that functions as a medium for finding out and expressing the hidden existence of these people. Furthermore, this essay considers what "stories woven in a dynamic interchange of fiction and fact" could mean in the context of the symposium prospectus. The clue is Benjamin's "The Storyteller", which analyses the flexibility and mutability of a story as a tool of communicating one's experience to others. Such a story is able to liberate us from a solid narrative framework of historiography and the novel as a modern genre of literature. With the help of Paul Ricoeur's concept "refiguration," this essay points out that every historical, fictive, and factual/fictive story might change the way of life of the storyteller as well as the listener and reader.
著者
助川 幸逸郎
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
no.11, pp.68-84, 2011-03-31

In 1980s, Consumerism was prevailing in Japan. This brought about a tendency of looking at oneself as a special existence and to think that seeking personal pleasure is more sophisticated than trying to reform the society. These changes strengthened the influence of "OLIVE", which is one of the most popular magazines in 80s, and created the boom of French Theory. Monogatari Kenkyukai, or the Association of Narratology aka Monoken, introduced Textual Analysis as one of the methods to criticize the main stream of academic investigation in the early 70s. But, as with the development of consumer society in 80s, the role of Textual Analysis made a change to provide excuses to cover up the fault of one's own reading. It turned out to be impossible for Monoken to monitor overdoing on the establishment side, as few members of this association could realize that the changes had taken place. Nowadays, study of Japanese Literature has begun to collapse as a system. We, the members of Monoken, should reconsider the meaning of Textual Analysis for rebuilding the narratology up in Japan.
著者
樋口 大祐
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
no.9, pp.32-44, 2009-03-31

This study was spurred by a precedent research by Makoto Takagi et al. and attempts to investigate the affiliations between "borei" (ghostly manifestations) and war chronicles (the interpretation centers around "onryoshikan" or historical insights of vindictive spirits). According to the five literary works (pieces of literature), The Tale of Hogen, The Tale of Heiji, The Tale of Heike, Shokyuki (The account of the Shokyu War), Taiheiki (Chronicle of the Grand Pacification), there are records pertaining to nation-wide famous "onryo" or vengeful ghosts across history such as Sutokuin, Emperor Antoku, Gotobain, and Emperor Daigo etc. However, despite The Tale of Hogen is a fundamental component surrounding the historical insight of the "onryo" or spirit belonging to Sutokuin, according to other sources, we have yet to come up with a rational justification of the many incidents concerning the occurrences of these appearances. While Shokyuki seems indifferent toward the ghost of Gotobain, The Tale of Heike and Taiheiki include "onryoshikan" or historical insights of vindictive spirits, though after all it resorts to other interpretations. On the other hand, since the term "borei" is utilized to express a wider meaning, Tairano Kiyomori's recollection in The Tale of Heike should be linked to current reliable methods (in insinuating that it existed in the past and yet shall continue to prevail in the future) and thus shall provide several perspectives related to "borei" or departed spirts in history.
著者
塩見 優
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
vol.12, pp.1-11, 2012-03-31 (Released:2018-03-27)

An important role is played by rumors when discussing the near death of Murasaki no Ue. When Murasaki's death passes through the medium of rumors, it becomes both realistic and fictional. The point of view of Murasaki's life and death changes as it is layered through Hikaru Genji, rumors, and Murasaki herself. However, it is not the complexity of the point of view that is important, but the narrative's depiction of the ambiguity of life and death. By depicting the ambiguity of life and death through Murasaki, the narrative asks the reader: What is "life"? What is "death"? This issue is continued in the ten Uji chapters. Focusing on death opens up further possibilities for considering Genji monogatari.
著者
助川 幸逸郎
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
vol.14, pp.54-70, 2014-03-31 (Released:2018-03-27)

Shinobu Orikuchi, aka Choku Shaku, famous as a unique poet, was regarded as one of the sympathizers of the Araragi school. This influential school expressed that their own ideal is the poets in the Manyoshu and declared that poems should be written from their unvarnished feelings, derived from their real lives. Orikuchi, however, pointed out that a large number of poems in the Manyoshu were misunderstood to have been based on composers' real lives, implying that these phrases were actually cliches adopted from folk songs and oral works. In the same way, he pointed out those ardent expressions in women verses composed in the Nara and Heian era were stereotypes in Utagaki, which were meetings with the intention of finding a sexual partner. He was unwilling to accept passionate words in poetical works as the faithful reflection of author's feelings in their mind. What were the reasons behind such an attitude? In this paper, I find the reasons for this in the poetical conditions peculiar to modern Japan.
著者
藤井 貞和
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
vol.13, pp.39-53, 2013-03-31 (Released:2018-03-27)

Narrative conversations (utagatari) related to songs performed in the ninth century are the foundation of Ise monogatari (The Tales of Ise). I examine grammatical "functional words" based on the "emptiness versus fruitfulness" annual theme of Monoken.
著者
李 芝善
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
vol.8, pp.94-105, 2008-03-31 (Released:2018-03-27)

There are three kinds of translation of "The Tale of Genji" in Korea. Among those, the Yu Jung translation in "The complete series of world literature" published in 1975 has been assumed as the first translation until now However, I have clarified in this report that the first version of Korean translation was in 1973 in "A perfect collection of world classiccal literature." Then, mainly taking the examples of the "Yugao" chapter, I considered an ideal method of translation of classical literature works while comparing characteristics of Yu Jeong translation with Akiko Yosano translatioon. I pointed out that Yu Jeong translation overused old expressions and vocabularies and replaced 31-syllable Japanese poems with songs peculiar the race and used a Korean dialect. Therefore they make Yu Jeong translation of "The Tale of Genji" quite original..
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.
著者
黄 子蘋
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
vol.9, pp.145-165, 2009-03-31 (Released:2018-03-27)

This is a study on various apparatuses of learning that function in the novel, Takekurabe. Those apparatuses include Fudeya (a stationery shop), Yoshiwara (a licensed prostitution area), the space called Daionji Area, as well as regular institutional schools. Each in its own way, they invite children to the worlds of adults, raise them as social beings, or function as apparatuses that involve them in the institutions of modern nation state. The learning in all those places is achieved by acquiring the particular language used in each of them. This paper focuses. especially on the space called Fudeya, which is presented in contrast with regular schools In the ending of the novel, the loss of Fudeya strikes readers as an unhappy event because it deprives children of a precious place for learning by playing, which means that they are left under the sole authority of institutionalized schools.
著者
高木 信
出版者
物語研究会
雑誌
物語研究 (ISSN:13481622)
巻号頁・発行日
vol.14, pp.71-91, 2014-03-31 (Released:2018-03-27)

Kozaisyo didn't write an answer to Michimori's love letter, and Nyoin who is her master commented to her that she was too strong-minded, and thus her attitude reminded people of Ono- no-Komachi. It was said that as a result of having rejected the masculine, Komachi had lived a pitiful in her old age in the Japanese tales of the Middle Ages (11c-16c). Or they said Komachi who had been a harlot was a reincarnation of the Kannon Bodhisattva, and in these tales, she had been portrayed as a sort of messiah. However, their logic is that of a masculine community where woman has been put to silence. Kozaisyo and Ono-no-Komachi have been shunted into this masculine logic. Kozaisyo was accounted as a faithful woman in the Heike-Monogatari, because of having thrown herself into the sea after Michimori's death, but in the common sense of the Middle Ages it was thought that a pregnant woman who killed herself would have gone to hell. We can see the possibility that Kozaisyo may have gotten a spell of relief from the masculine community, if we can connect her to Ono-no-komachi who had become the Kannon.