著者

武藤 美枝子

出版者

法政大学大学院 国際日本学インスティテュート専攻委員会

雑誌

国際日本学論叢 (ISSN:13491954)

巻号頁・発行日

vol.9, pp.1-22, 2012-03-23

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The tōgaku dance "Shunnōden" originated in Tang-dynasty China and was brought toJapan by the mid-ninth century at the latest. The name"Shunnōden" is composed of thethree Chinese characters 春鶯囀 ,literally 'spring,warbler,twittering /singing'. The birdreferred to by the second character is not the same in China and Japan,although bothbirds sing nicely. Here in Japan,this bird has been much loved as the little bird who tellsus of the coming of the long-awaited spring. "Shunnōden" was danced many times on theoccasions of imperial visits to the Emperor's parent(s),which customarily took place invery early spring,and also on birthday anniversaries in spring. Although this bird isclosely associated with plum trees in Japan,modern zoology has revealed that the bird inquestion has no habit of coming to plum trees.In the"The Festival of the Cherry Blossoms" chapter of the Tale of Genji,Genji dances"a brief passage"of a dance since "the crown prince himself presented a sprig of blossomsfor his cap and pressed him so hard to dance..." (English translation by E. G.Seidensticker). The text does not give the name of the dance, but most scholars,studyguidebooks and translations into modern Japanese have so far assumed it was"Shunnōden"that Genji danced here; "Shunnōden," as danced by professional dancers,wasthe preceding performance in the Festival, and it has been believed that Genji justrepeated a part of it. However, the author of this paper argues that the dance must havebeen a passage from"Seigaiha" ('Blue Sea Waves'), which Genji had danced so beautifullyon an autumn excursion in the preceding chapter ('Momiji no ga,' or "An AutumnExcursion"). The grounds for this interpretation include the following:・The brief passage Genji danced was"the quiet waving of his sleeves." The Japaneseword used here for'waving'is kaesu,and the word kaesu is customarily used to refer towaves that come and go (kaesu is the word for"go"); in contrast, kaesu is not used inassociation with the movements of the wings of birds.・The crown prince recalled Genji's dancing "Seigaiha"when he saw the setting sun,whose glow had enhanced the divine beauty of Genji's dancing,and then offered Genji asprig to use as a headdress (kazashi). "Shunnōden"does not have a particular tie to aheaddress. Although "Seigaiha"itself does not have one either,a headdress may haveserved as trigger to the crown prince's memory because Genji had danced "Seigaiha"with a sprig in his cap in the preceding chapter.・Lovers in olden days waved their sleeves to invite the soul of their loved one. Genji wassending his message of love to Empress Fujitsubo,just as he did in his dancing in thepreceding chapter. We know Fujitsubo understood his message when we see that she started her wistful poem with the expression ōkata ni,* the very expression she used in the preceding chapter as the closing of her response to Genji when he informed her thathe had performed the sleeve-waving part of "Seigaiha" with all his heart for her.*Note:It is hard to establish the precise connotation of this word in the two situations in translatedversions, since the word is translated differently by the various translators.

著者

MUTŌ Mieko

出版者

法政大学大学院 国際日本学インスティテュート専攻委員会

雑誌

国際日本学論叢 (ISSN:13491954)

巻号頁・発行日

vol.13, pp.19-44, 2016-03-07

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In The Tale of Genji , sons of leading characters are assigned to dance on celebratory occasions. This paper studies the boys who danced in the tale, and the findings include that the age of the Emperor Kiritsubo's Fourth Prince would have been fourteen or fifteen when he danced Shūfūrakuduring the imperial visit to Suzaku-in in "Momiji no Ga" ("Beneath the Autumn Leaves"); His Excellency Higekuro's third and fourth sons from Tamakazura would be ten and nine respectively; Commander Yūgiri'seldest son would be nine, the second most likely eight, and the third one seven when they danced for the fiftieth birth-year celebration of Suzaku-in (on the final rehearsal day9in "Wakana 2" ("Spring Shoots II"). The ages of the two sons of Hyōbukyō no Miya (His Highness of War) in the samechapter are questionable if we assume that their mother is the Prince's first wife. Courtier boys in The Tale of Genji dance the pieces that were standard pieces for boys at that time. The author of the tale observes the ongoing practices of boys' dancing of the era.

著者

金 命柱

出版者

法政大学大学院 国際日本学インスティテュート専攻委員会

雑誌

国際日本学論叢 (ISSN:13491954)

巻号頁・発行日

vol.9, pp.42-23, 2012-03-23

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In this thesis "The Occupation years (1945-1952)" I compared andanalyzed Christmas in Japan and in the USA, paying attention not only to theChristmas influenced by the leading role of the occupying US forces,butalso to the way the Japanese,especially Japanese children,spent Christmasunder the American occupation. It became thus clear that in the occupiedJapan Christmas was celebrated with some political intentions by theoccupying side and in the social relations between the occupying and theoccupied sides. Through this,it was implied that Christmas had a bigreligious and cultural significance in Japan at the time.Obviously Christmas is not the only example of a custom,habit,culture,idea, religion or system from western societies that has established in Japan,it is one among innumerable others. From an international point of view,understanding how Japanese culture is changing in contact with the culturesof other countries and rethinking the position of Japan is an importantacademic mission to be fulfilled by the International Japanese Studies.Thisis what this thesis humbly tried to do.

著者

阿部 裕行

出版者

法政大学大学院 国際日本学インスティテュート専攻委員会

雑誌

国際日本学論叢 (ISSN:13491954)

巻号頁・発行日

vol.14, pp.1-21, 2017-03-31

著者

髙野 宜秀

出版者

法政大学大学院 国際日本学インスティテュート専攻委員会

雑誌

国際日本学論叢 (ISSN:13491954)

巻号頁・発行日

vol.10, pp.1-38, 2013-03-08

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This paper considers the Iwamatsu Tsuneie clan trend by comparing andexamining Taiheiki and historical records. In the conventional history, it wasthe principal axis to research of the capability of the politics and the militaryaffairs of a Nitta Yoshisada individual, the Southern Dynasty, meaning, etc.Moreover, in Nitta clan research in Taiheiki, it was the mainstream toconsider Yoshisada's person image which led comparison with othergenerals. Then, I would like to clarify the Iwamatsu clan image in the view tothe Iwamatsu Tsuneie clan of the Tiheiki author, or Taiheiki by performingcontrast of Taiheiki and historical records.The ancient documents of houses, etc. are used for historical records. Iutilize Taiheiki,the Seigenin-bon made old also in Taiheiki.A prologue shows way return of a previous work, the meaning of itsresearch, a viewpoint, and a measure plan.This paper, I focus on the influential branch, Iwamatsu. Although thelwamatsu were not important figures in Taiheiki, I have considered whatkind of activity there actually was using the historical records related tolwamatsu Tsuneie and Iwamatsu Tsunemasa. As a result, althoughIwamatsu branch was represented by only one general in Taiheiki, it isshown clearly in fact that two had participated at the level of general class inthe Kamakura attack.In the last chapter, I described the result and subject of this paper and theview of future research.