著者

清水 潤

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.4-17, 2010-03-31 (Released:2018-03-27)

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This study takes up Sankai Hyobanki as a novel representative of Izumi Kyoka's later career. By focusing on the protagonist Yano, who is a novelist, I examine the functions of the gaze with regard to the act of looking. The subject of the act of looking controls the object of the gaze. However, this power relation reverses when the object of the act of looking reveals its awareness of the gaze of the subject and the relation shifts into one of "showing" and "being showed." By considering the characters surrounding Yano in the novel, I show that changes in the angle of the gaze open up possibilities for new readings.

著者

本橋 裕美

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.3-14, 2013-03-31 (Released:2018-03-27)

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Like history, a narrative has plural axes of time. However, when we read narrative, we seek for one axis of time. We deny incoherence, seek for coherence, and reconstruct a story. But The Tale of Genji, a text connected to history, does not allow the reduction to one axis of time. It reveals that it has plural axes of time, and it causes characters' past and present to waver. This wavering shakes our perception as well as the characters'. I will talk about "Engi," an era name defining time, and explain the intersection of "Fiction × Reality."

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

vol.19, pp.44-61, 2019 (Released:2022-06-18)

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

vol.22, pp.284-286, 2022-03-31 (Released:2023-04-01)

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

vol.9, pp.12-19, 2009-03-31 (Released:2018-03-27)

被引用文献数

1

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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.

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

vol.20, pp.32-44, 2020 (Released:2022-06-18)

著者

西原 志保

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

vol.21, pp.16-30, 2021-03-31 (Released:2022-08-25)

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

vol.8, pp.74-84, 2008-03-31 (Released:2018-03-27)

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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.

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

vol.18, pp.158-174, 2018 (Released:2021-07-01)

著者

西山 登喜

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.106-118, 2008

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The power relationship of the person alughs at and the person laughed at surfaces by 'laughter'. The act of laughing rules the situation. Here we study again the relation between the Emperor Suzaku and Nakatada from a new angle of 'laughter'. The Emperor Suzaku laughs at under the cooperation of Nakatada. The Emperor Suzaku tries to advocate the domination of the royal prerogative by laughing, and tries to seize the family of the Kin (seven-stringed Chinese koto). On the other hand, Nakatada rejects his own playing kin. With keeping the logic of 'Matsurohanu', he makes the Emperor Suzaku laugh and then he shows his indirect submission to the Emperor Suzaku by talking about the episode to others. The two persons form strange complicity while they are convinced that the logic of each other is not distorted mutually. The Emperor Suzaku's laughter hids the rising contradiction of both. The consideration to try to utilize and controll each other while checking the other is made and resonated by 'laughter.' 'Laughter' is the expression of the mind with assuming malediction.

著者

兵頭 裕己

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.4-15, 2014

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In this essay, from the perspectives of point of view, person and subject of narrative, the performative characteristics of Japanese narrative discourse, namely The Tale of Genji and The Tale of Heike, are studied in detail.

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

vol.18, pp.99-107, 2018

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

vol.18, pp.90-98, 2018

著者

岩森 円花

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.122-138, 2014-03-31 (Released:2018-03-27)

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The area of Suma is influenced by many preceding stories and traditions in the text of The Suma chapter of The Tale of Genji, but it has been recognized as a fixed image related to the sea, it is the dreary place that where an exile lives. However, when looked upon as the living-space of Hikaru Genji, the place Suma is described as a space having both elements of the sea and the mountain, without the description leaving a consistent impression. In this paper, I analyze the living-space of Hikaru Genji with regards to the story text. I point out that the sea of Suma emphasizes the dreariness and lonesomeness of Hikaru Genji by the image of Waka, and that the mountain shows a bearing of Hikaru Genji as a recluse calmly content in heart through the image of Chinese poetry while being related with a pseudo-priestly life. Furthermore, I treat that space of Suma that has been treated relative to the capital switches as a bordering space leading to the ground Akashi from the purification ceremony of the beginning of March.

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

vol.16, pp.260, 2016 (Released:2019-04-20)

著者

圷 美奈子

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.20-32, 2008-03-31 (Released:2018-03-27)

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The 31-syllable Japanese poems can express not only real scenery and feeling. Surely, to express the ideal world by the poems led great progress of Japanese expression. The technique "mitate" is one of the most impotant expressions. But the matter to be examined by this paper is different from "mitate" which is typical arts of "the Kokinshuu" for example to watch snow as a flower. By this paper, I will point it out about the art of poems which was not noticed till now. It is expression to replace reality with other matters. It may be said that it is a kind of technique of so-called "mitate." However, it is not the figurativ expression. It is the technique to express the matter that you should express definitely. In other words the technique of expression concerns the essence of the poems. Those poems take the form of question and answer by two people. The follwing expressions about Sei-shounagon are in The Makura-no-soushi (The Pillow-Book of Sei-Shounagon)." One is "you,who are called after Motosuke." The other is "the barrier which is easy to pass through." Both expressions have been merely understood in the literal meaning superficially. The former is "the person who should make good poems," the latter is "a frivolous woman." But these are not quite correct. There are the special existence and events as the basis of these expressions. Also I examine the examples of "the Manyoushuu (1-20・21)", "The Tale of Genji" and "The Ise Story" by this paper. This technique to replace reality with some others is technology to let reality sublimate to a better thing by the power of words,which are poems. If the dual structure of the certain poems are not understood, we will continue watching only illusion.

著者

斉藤 昭子

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.184-186, 2009-03-31 (Released:2018-03-27)

著者

松岡 智之

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.191-193, 2011-03-31 (Released:2018-03-27)

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

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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

鈴木 貴子

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.119-130, 2008

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Paying special attention to those expressions related to "tears" which manifest themselves whenever Toshikage's daughter thinks of her own past in Utuho Monogatari, or Tale of the Hollow Tree, I have made explicit in this paper the relationship between Toshikage's daughter's prosperity and her memory of the past, both of which are built upon and virtually inextricable from her "tears". I have also further reexamined the relations within her family as Inumiya, who is initiated into the traditionally inherited family secrets of the art of playing kin, or seven-stringed, semicylindrical plucking zither. From her infancy, she finds herself unable to genuinely share the joy derived from her performance; and herein is expressed her deviation from approved "tears" the Toshikage's kin family could provide. The discussion of this paper. therefore, lies in the attempt to explore a new aspect of Utuho Monogatari by way of giving an analysis to seemingly detailed expressions such as Inumiya's "tears". Unlike the logic which permeates the overall structure of a summary, I have approached this story from Inumiya' s logic that is in some measure displaced and detached.