著者

チトコ マウゴジャタ カロリナ

出版者

人間文化研究機構 国文学研究資料館

雑誌

第42回 国際日本文学研究集会会議録 = PROCEEDINGS OF THE 42nd INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:03877280)

巻号頁・発行日

no.42, pp.27-41, 2019-03-28

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What happens to knowledge when we gain access to new information and take into account more variables? The answer is obvious – it updates and it changes. In this presentation, I trace how generations of reception and appropriation of Man’yōshū (759-785), the first extant poetry collection in Japanese, have been affected by the poetic discourse, instability of knowledge and channels through which knowledge is carried, and existence of various manuscripts of Man’yōshū in the early medieval era. I deal with two allegedly rival schools – Rokujō and Mikohidari – and two of their representatives – Fujiwara Kiyosuke (1104-1177) and Fujiwara Shunzei (1114-1204). I examine their Man’yōshū reception strategy by analyzing their poetry criticism (karon). My approach is, however, to see them not only as binaries and rivals, but above all as representing continuous stages in the development of the Japanese poetic tradition.The results of my research lead me to a conclusion that the Mikohidari poets, considered to be specialists on the Heian period tales like Genji monogatari, paid much more attention to Man’yōshū scholarship than it is currently acknowledged. Moreover, I argue that the process of modifying the waka tradition in fact started with Kiyosuke, not with Shunzei. The Mikohidari poets took over this process after Kiyosuke’s death, claimed a big part of the Rokujō tradition, and established themselves as modernizers of the poetic craft. The two poets and schools had thus much more in common than is usually acknowledged but they utilized the idea of their rivalry as a tool in pursuit of their goals – to attract potential patrons and thus gain power through knowledge. The Rokujō-Mikohidari rivalry, being the most definitive frameworks for discussing the two schools, is a result of variability of texts and knowledge owned by the two schools. This implies that the common knowledge about waka or Man’yōshū in the early medieval era was much more indefinite than we currently believe. Such instability was possible due to the existence of the already-established poetic discourse that lay beyond the Rokujō and Mikohidari labels; discourse was a shared space where the circulated knowledge continues to be added, replaced, modified and negotiated. In fact, the fluidity of knowledge enabled the poets to use it to their advantage by various mechanisms of stabilizing their line of knowledge transmission; instability of texts and knowledge gave them power.

著者

梁 蘊嫻

出版者

人間文化研究機構 国文学研究資料館

雑誌

第42回 国際日本文学研究集会会議録 = PROCEEDINGS OF THE 42nd INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:03877280)

巻号頁・発行日

no.42, pp.81-101, 2019-03-28

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Chinese historical novel The Romance of the three kingdoms (Ming Dynasty-Ruoguanzhong) was spread to Japan in Edo period. The first Japanese translation Tsuzokusangokushi (preface by Konanbunzan) was published in Genroku 2nd year (1689). Ehontsuzokusangokushi (author-Ikedatouri/illustrator-Katsushikahokusai) was published in Tenpō 7th year (1836), and was based on the story of Tsuzokusangokushi with illustrations attached. The illustrations in Ehontsuzokusangokushi were over 400 pieces and the amount were the most of “Sangokushi stories” in Edo period. Until Meiji era, there had been over 30 versions of Ehontsuzokusangokushi, and at that time, the movable-type printing was available, so the relationship among booksellers was changed from cooperation to free competition. In many publications, some were imitations of Hokusai (second generation)’s works, and some were original. Ehontsuzokusangokushi (published by Shimizuichijirou) was an original one. The title page was painted by Taiso Yoshitoshi, the illustrations in books were painted by Kobayashitoshimitsu and Mizunotoshikata. No matter the choices of setting or compositions, these were totally different from Hokusai’s works. Thus, we can see that the publisher wanted to make some differences from the classical and create an original work. In the highly-competitive publishing industry, Shimizuitijirou tried something new, such as using regular subscription for promotion or adopting original illustrations and these ways were fruitful. This study will focus on the Ehontsuzokusangokushi published by Shimizuichijirou and analyze the illustrations from the illustrators a Drawing styles. Also thinking about the meaning that original illustrations bring to classical lecture.

著者

陳 華栄

出版者

人間文化研究機構 国文学研究資料館

雑誌

第42回 国際日本文学研究集会会議録 = PROCEEDINGS OF THE 42nd INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:03877280)

巻号頁・発行日

no.42, pp.1-14, 2019-03-28

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"Kajin no Kigu", a famous political novel in the Meiji era of Japan, was translated into Chinese by Liang Qichao in 1898 and had a great influence on China - which had no genre called political novel until then. Hankei, a nobleminded patriot of the "rebelling Qing dynasty and rebuilding Ming dynasty," is an important character in the novel, along with Tokai Sanshi, Youran, and Coren. Tokai Sanshi, the original author and a politician, propagated his political thought through the novel's characters, especially through Hankei. Correspondingly, when politician Liang Qichao translated "Kajin no Kigu," he adapted many parts according to his own political standpoint, and then included many speeches made by Hankei.For instance, in Volume 2 of the original, there is a scene where Hankei and Tokai Sanshi deliberate about "revitalizing Asia strategy". Hankei approves the idea of Tokai Sanshi by stating, "This is a secret plan in my heart, which is exactly the same as what you said." The "revitalize Asia strategy" that Hankei is agreeing to implies a "shift the Qing Dynasty to the East, division of China into three, raising the spirit of competition and prohibiting the poisonous opium, inspiring the vigour of the people of the Qing Dynasty and exhausting the financial resources of English people to rely on military authority to suppressing India – which would begin Asia's revitalization definitely." This is also the idea of Tokai Sanshi. Liang Qichao translated this as "Between Heaven and Earth, China has jurisdiction over more than four hundred continents - it's certainly a great country in the Universe. Just because politics and diplomacy are not well governed, it leads to periodic setbacks, insults, and failure in revitalizing ourselves. If we can ban the poisonous opium, and inspire the national spirit, it would definitely be the fundamental strategy to revitalize Asia."The common point of the "Kajin no Kigu" research is that it was accompanied by a series of consecutive warfare in Japan during the Sino-Japanese War of 1895. The theme and political position of the novel was also changed from Volume 10. However, as shown in the above example, it is also important to consider the socio-political context of Hankei, the speeches made by him, and the fact that Liang Qichao, like Sanshi, exploited Hankei's political thought - through his translation – to further his own beliefs. That being said, I believe that is it imperative to research it. In this research, I would use the speeches made by Hankei and Qichao's translation of those speeches to analyse the deliberate creation of Hankei's character(to further the writer's philosophy), and the way that Qichao then similarly draws upon Hankei's political theory in his translation.