著者

寺田 澄江

出版者

国文学研究資料館

雑誌

国際日本文学研究集会会議録 = PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:ISSN0387)

巻号頁・発行日

no.27, pp.69-80, 2004-03-01

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From the Ancient to the Middle age, the fundamental poetical structure progressively shifts from a linear discourse, represented by “pillow word (makura kotoba)” or “introductive word (jo-kotoba)”, to a “compositive” one, illustrated by “associated words (engo)”. This evolution in the discourse strategy takes form, in terms of waka’s versification, the establishment of a very clear double structure―splitten into kami no ku (l7syllables) and shimo no ku (14syllables)―which is related itself with the development of the short linked poetry (tan renga) in the later Heian period. This marginal poetical category, generally treated as a simple transitive form between the waka and the linked poetry, has its part in the important changes in the organization principle of the waka.Minamoto no Toshiyori, to whom the originality in the composition was his great concern, devoted himself to the short linked poetry, considering it as a sole poetical form which one can be proud of among the literary works of his time. According to Kenshô, he difined himself as follows:“I’m not a poem teller (or poem singer: uta yomi) but a poem maker (uta tsukuri). I mean, what I do is, rather than regarding fine effects (fuzei), combining exquisite words and structuring them.”I will try to clarify in what way Toshiyori’s keen concern to the originality is related with this manifesto-- a very expression of the “compositive” discourse-- and with his interest to the short linked poetry.

著者

齋藤 真麻理

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要. 文学研究篇 = The bulletin of the National Institute of Japanese Literature. Japanese literature (ISSN:18802230)

巻号頁・発行日

no.36, pp.29-64, 2010-03

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西尾市岩瀬文庫に所蔵される御伽草子『岩竹』については、酒呑童子や土蜘蛛など、先行の武勇伝をはじめ、『塵滴問答』との密接な関連が指摘されている。従来、これら以外に類似する説話は報告されていないが、『岩竹』と酷似する怪異謹が那須地方に語り伝えられている。本稿では、この新たな岩竹説話の存在を指摘するとともに、両者の成立した背景と物語世界について考察する。Iwatake is "Otogizoshi" possessed at lwase Bunko Library as the only known text in the past studies. As already mentioned by Teiji Ichiko, this work has close relation to Shuten Doji, Tsuchigumo and Jinteki Mondo. However, I recently found a strange tale resembling Iwatake every much in the tales handed down to Nasu district of Tochigi. In this study, I examine this variation of Iwatake tale, consider the background of the formation of both texts and analyze the world of each story.

著者

金田 房子

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 = National Institure of Japanese Literature (ISSN:18802230)

巻号頁・発行日

no.39, pp.53-75, 2013-03-15

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矢口一彡(一七八七~一八七三)は、群馬県八幡八幡宮の神職を継ぎ、神官の地位の復権に尽力するかたわら、俳諧宗匠として活躍した。一多は、はじめ地元高崎の平花庵の点取俳諧に遊んだと考えられ、のち、天保三大家の一人と称された鳳朗(鶯笠)に出会ってからは、その熱心な門人となった。芭蕉百五十回忌の記念として、八幡宮社前に鳳朗の揮毫による芭蕉句碑を建立。その後も生涯にわたって俳諧宗匠・寺子屋宗匠として地域の啓蒙に努めた。矢口家の蔵書には当主による書写年代の書き入れのあるものが多数あり、本稿はそれをもとに矢口一彡の活動を年譜形式にまとめたものである。一彡による集書は、実際につながりのあった人々との俳諧活動などの交流を通じたものが多く、収蔵された俳書や句稿は、在村文化の様相を知る上でも有益である。Yaguchi Issan (1787-1873) succeeded the Sinto priest of Yawatahachiman-gu shrine in Gunma Prefecture. He not only made his best endeavors for the improvement of Sinto priests’ rights, but also lived actively as a teacher of haikai. At the beginning of his career, as a member of the Heika-an group in his hometown, Takasaki, Issan enjoyed Tentori-haikai. Tentori-haikai is a kind of haikai competition that awards prizes to three excellent participants who attain the highest scores.Later when he met Horo, one of the three great haiku poets in Tempo period, he became an eager pupil. To commemorate the 150th anniversary of Basho’s death, Issan erected Basho’s stone tablet in front of Yawatahachiman-gu shrine. The stone was inscribed with Basho's haiku in Horo's handwriting. Throughout his life, he dedicated himself to educating the people of the local areas as a haikai teacher and also as a Terakoya teacher. In this paper, I made a chronology of Issan's life by studying his signatures and memos which he wrote in his collection of books.

著者

Williams Mark

出版者

国文学研究資料館

雑誌

国際日本文学研究集会会議録 = PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:ISSN0387)

巻号頁・発行日

no.29, pp.163-171, 2006-03-01

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During the course of the past century, Japan confronted the whole gamut of historical, political and economic experience - and this has made the question of what makes a person ‘Japanese’ an important area of intellectual endeavor. In this paper, I shall be examining the various ways in which Japanese authors of the twentieth century have approached the task of defining the ‘Self’ - through an examination of the various ‘Others’ they have established for this purpose. Broadly speaking, these can be divided into three categories : ‘external Others’ (i.e. those established by authors confronting the world beyond Japan’s boundaries: e.g. Nagai Kafû, Endô Shûsaku, Yokomitsu Riichi, etc. ); ‘internal Others’ (i.e. those whose identities are often constructed in terms of being Other to some Japanese ‘norm’: e.g. the burakumin, those of ambivalent sexualities, those left behind by the ‘economic miracle’, the deracinated postwar population, zainichi-Kankokujin writers, and women writers). Finally, I shall consider the possibility of some liminal, middle ground-by examining those who are not ethnically Japanese but who have at some time assumed or been forced to assume a Japanese identity due to historical circumstance (e.g. Okinawan literature, zainichi literature, Taiwanese literature written in Japanese). By exploring the nature of the Japanese identity these authors have assumed, we are returned, whether consciously or not, to a consideration of the cultural identity of Japan.

著者

山崎 誠

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 文学研究篇 (ISSN:18802230)

巻号頁・発行日

no.34, pp.1-24, 2008-02

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願文は神仏に宛てられた文書であり、妄語を恐れる心性から、その内容は世俗化した現代とは異なり信憑性が高いといえよう。この点に注目してみると、解決済みとされたり、見過ごされた問題について、願文はなお有力な証拠を提供していると見做なされる。その例証を大江匡房の家族関係について試みる。The people devoted "Ganmon" documents to Buddha, Devas and the deceased in customs of other days. When they describe for themselves, awed to offend the commandment against lying, therefore the description must be hightly reliable. "Ganmon" which composed by Oe no Masafusa could vouch for illuminating the unsettled issues on his family.

著者

山本 和明

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 = National Institure of Japanese Literature (ISSN:18802230)

巻号頁・発行日

no.32, pp.185-208, 2006-02-28

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『松の栄千代田の神徳』は、仮名垣熊太郎を作者とする明治期正本写である。本作品を調査することによって明治十年代の一時期に、なぜ正本写が流行したのか、その要因を考察する。“Matsu-no-sakae Chiyoda-no-shintoku” is “Shôhon utsushi” (a novel like the scenario of kabuki) with which Kanagaki Kumataro is made into the author.By investigating this work considers the factor for why “Shôhon utsushi” was in fashion to one time of the Meiji 10s.

著者

中村 哲郎

出版者

国文学研究資料館

雑誌

国際日本文学研究集会会議録 = PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:ISSN0387)

巻号頁・発行日

no.3, pp.55-64, 1980-02-01

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The contact of kabuki and Westerners started long ago at the end of the sixteenth century. And then after the opening of Japan to the West towards the end of the nineteenth century, the art form that the average Westerner first knew as “the theater of Japan“ was kabuki―not noh, a formalized art form with a limited audience, one for the ruling classes.However, the Western intellectuals who visited Japan in the mid-Meiji period and saw both kabuki and noh and then evaluated their quality as art forms leaned overwhelmingly towards noh, and in the twentieth century this tendency became ever more pronounced. Even within Japan, in the late Meiji periud opinions such as N atsume Soseki’s famous pro-noh and anti-kabuki stand were heard. He wrote,“I don’t hesitate to declare a performance vulgar. In contrast to this, noh can be thought of as creating a pure world separate from this everyday mundane one; it is played honestly and straightforwardly.”Thus East and West displayed a united front in this matter.In this paper the author has examined why this should have been so. In their first encounter with modern Westerners neither kabuki ―emblematic of the Edo popular arts― nor the bunraku puppet theater nor Japanes traditional music and dance gave rise to such fervent and devoted admirers as those for noh like Fenollosa or Perry. It is safe to say that, in comparison with the case of noh, there was not even one single Western intellectual in the modern age who truly loved kabuki wholeheartedly. We can probably attribute this to modern Western man, with his yardstick of individualism for judging art , finding it difficult to grasp the essence of many aspects of a riotous popular theater form like Kabuki and thereby being unable to have a genuine spiritual response to it. In this way, a substantial enconter between kabuki and modern Westerners has had to wait until recent times. It is only very recently that some Western recearchers in the dramatic arts have come to realize the fundamental character of noh and kabuki: if noh is Grecian and Apollonian , then kabuki is Roman and Dionysian.Even today a fixed attitude of disdain towards kabuki remains among a minority of intellectuals in the West, and this can be considered as one cause of the disparity that can be seen in both quality and quantity between noh research and that into kabuki in the West today and of the scanty numbers of speciali sts in Edo literature as well.

著者

坂口 貴弘

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 アーカイブズ研究篇 (ISSN:18802249)

巻号頁・発行日

no.4, pp.21-38, 2008-01

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アーカイブズ情報の共有化は、アーカイブズの保存と利用をめぐる一般の理解を広げるのに大きな効果があるという点で重要であり、全国のアーカイブズ機関による協同の成功を期すにあたっては、その方法論を綿密に検討する必要がある。そこで、イギリス、アメリカ、カナダ、オーストラリア、日本において構築されている全国的アーカイブズ情報共有化データベースを対象に、共有化の仕組みとメタデータ標準類の活用方法について調査を行った。調査項目は「記述作成機関」「記述レベル」「記述項目」「検索項目」「記述規則」「シソーラス」「EADの活用」である。その結果、次のような点が明らかになった。1)データの記述は基本的にアーカイブズ資料を所蔵している各所蔵機関の役割とされていた。2)記述のレベルはフォンドに相当する単位を基本としていた。3)ISAD(G)で記述が必須とされている項目に加え、いくつかの項目が記述項目とされていることが多かった。4)作成者名称は、すべての国で検索項目となっていた。5)記述規則、シソーラス、EADの活用といった発展的な課題については、データベースによる相違が大きかった。Sharing of archival metadata is crucial in order to expand people's understanding of Management of and access to archival resources. Because the collaboration project between various archival institutions would be difficult, it is necessary to consider carefully about its strategy and methodology to develop archival union database successfully. This article is on an international survey of 5 national online union catalogs: A2A(UK), NUCMC(USA), Archives Canada, RAAM (Australia), and National Archival Information Database and Network (Japan). This survey focused on the system for collaboration and the use of metadata standards, especially on who create archival descriptions, levels of description contained, metadata elements, elements used for search, content standards, thesaurus,and use of EAD. The main findings are: 1)Basically, data creation is the role of each institution with archival holdings: 2) All databases contain fonds level description: 3) In addition to the elements identified as mandatory in ISAD(G), some elements are used. 4) Name of creator (s) is used as search elements in all databases. 5) There are wide variations on the use of content standards, thesaurus and EAD.

著者

堀川 貴司

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 = The Bulletin of The National Institute of Japanese Literature (ISSN:03873447)

巻号頁・発行日

no.29, pp.37-52, 2003-02-28

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平安鎌倉期の漢詩作品を取り巻く状況を考察する一環として、詩懐紙について、その作法、特に詩本文の書様を概観する。鎌倉前中期に次第に六行三字に統一されていくこと、南北朝期を境に七言律詩から七言絶句に変わり、三行三字に書かれることを、懐紙の遺例や記録に書き留められた例、作詩作法書などに基づいて確認し、「文書」としての機能についても考える。 As a part to consider the situation surrounding Chinese poetries in Heian-Kamakura period, A survey of the system of versification, especially the way of writing of the text about Shi-kaishi was made. The way have been united to 6 lines and 3 characters during the early to middle Kamakura period and it was changed from Shichigon-risshi(七言律詩) to Shichigon-zekku(七言絶句) with 3 lines and 3 characters were confirmed based on the example which was written down in historic evidence and record or words courtesy books, then the function as ‘Documents’ is also considered.

著者

江戸 英雄

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 = The Bulletin of The National Institure of Japanese Literature (ISSN:18802230)

巻号頁・発行日

no.43, pp.57-84, 2017-03-16

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表題の「嵯峨院の六十の賀」ほか、うつほ物語とその年立を考えるうえで重要な事柄を論じ、物語の方法の一端も明らかにしてみた。The Use of chronological table is proposed for resolving the dissonance of some past annotation studies on the tale of cavern. This paper's title "The Celebration of the 60th Former Emperor Saga's birthday" is one of the most important matters on it.

著者

ツゥリト ジョン

出版者

国文学研究資料館

雑誌

国際日本文学研究集会会議録 = PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:ISSN0387)

巻号頁・発行日

no.4, pp.24-33, 1981-02-01

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The tradition of diary literature, nikki bungaku, is a long and distinguished one within Japanese letters. Critical attention, however, has focused on classical diarists and not those of modern times. lbuse Masuji (bn. 1898) is one such present-day writer whose diaries, both his own and those kept by his fictional characters, are of interest not only for what they reveal about the author himself, but for what they may imply about the very nature of the genre.Ibuse’s own personal diaries frequently recall ―and in a sense, thus memorialize and revive― his unusually numerous friends and relatives who died premature deaths. lbuse’s diaries may be a means of expiating a kind of guilt he experiences as their survivor ; a guilt more fully explored in his fictional diaries, the most notable of which is Shigematsu's in Black Rain (Kuroi ame). Here, a survivor of the atomic holocaust in Hiroshima attempts to conceptualize, and thereby master, the trauma of the bomb by rewriting years later his brief diary of August, 1945.In conclusion, diaries, which by their periodic entries come to resemble a ritual, serve to bring a disorderly or even incomprehensible external world under the control of the writer's literary and recreative act.

著者

大久保 正

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 = The Bulletin Of The National Institute of Japanese Literature

巻号頁・発行日

no.01, pp.233-249, 1975-03-25

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まだ公刊されていない本居宣長の書簡中から、七月三日付門人荒木田尚賢宛の一通と、日付・宛名を欠くが、門人小篠敏宛と推定される一通の計二通を選び、本文を翻刻すると共に、その年次を考証し、あわせてその宣長研究上に有する意義を考察した。 From some letters of Motoori Norinaga which has not been yet published , a letter addressed to a disciple Arakida Hisakata dated July 3rd and the one with no address and date to a disciple Ozasa Minu, 2 letters in total were chosen, the text was reprinted and studied the year of historical evidence. In addition,the meaning in a study of Norinaga was considered.

著者

井内 美由起

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要. 文学研究篇 (ISSN:18802230)

巻号頁・発行日

no.43, pp.85-115, 2017-03

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本稿では、夏目漱石『彼岸過迄』の第四篇「雨の降る日」とイプセン原作「人形の家」の関係について考察する。なぜなら、女性の自覚を扱った劇として評判を呼んだ「人形の家」との一致と差異を明らかにすることによって、「雨の降る日」の同時代性を明らかにすることができるからである。「人形の家」のノラが子供たちを人形のように可愛がったように、「雨の降る日」の千代子も宵子を人形のように可愛がる。「人形の家」において、「人形」とは女が父や夫から愛されようとして、すすんで彼らの気に入る女らしさを内面化することを表すメタファーであった。千代子が宵子を人形のように扱う行為もまた、千代子自身の疎外を表すメタファーとして解釈することができる。宵子の死とは人形化されたことによる死、つまり女が自ら性的規範を内面化することの悲劇なのである。さらに、以上のような文脈は第三篇「停留所」に接続されることによって、消費社会における女性の地位への批判として読むことが可能である。しかし、ノラが疎外の現実を自覚するのに対して、千代子は自らが疎外されていることに気付かない。このことは二つのテクストにおける人称の差異に表れている。「人形の家」は女主人公が愛のために自らを犠牲にすることを美徳とする価値観をこそ批判したのであるが、「雨の降る日」は犠牲を美しい行為として語っており、結局は女性の従属を肯定している、と論じた。This paper examines the relationship between the fourth chapter of Natsume Sōseki ' s (1867-1916) novel Higan sugi made (To the spring equinox and beyond, 1912) and Henrik Ibsen's (1828-1906) play A Doll's House (1879). Ibsen's play is famous for its portrayal of a woman who has become conscious of her own womanhood. A discussion of similarities and differences between this play and the fourth chapter of Sōseki's novel reveals the political import of the latter. Just as Nora, the protagonist of A Doll's House, dearly loved her children, so, too, does Sōseki's Chiyoko dearly love her uncle's daughter, Yoiko. In Ibsen's play, the doll is a metaphor for a girl or woman who, having become an object of affection for her father or husband, eventually internalizes the sort of femininity most pleasing to her male guardian. Chiyoko's treatment of Yoiko as a sort of doll may be understood as a metaphor for her own sense of disconnectedness. Yoiko's death was the result of the child having been transformed into a doll - the tragedy, that is, of having willingly internalized a self-destructive image of femininity. Moreover, Sōseki's fourth chapter, following as it does upon the third, may also be read as a criticism of a woman ' s place in consumerist economy. Whereas Nora eventually became aware of her marginalized existence, Chiyoko remains ignorant of her own condition. This fact is revealed through the differing ways in which the two authors use personal pronouns. It was believed that the woman who sacrificed her own dreams for the sake of love was a paragon of virtue. While Nora openly repudiates such an ideal, Chiyoko readily embraces this same ideal. I argue, therefore, that Sōseki's Chiyoko serves as a means of validating the subservient role of women.

著者

劉 穎

出版者

国文学研究資料館

雑誌

国際日本文学研究集会会議録 = PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:ISSN0387)

巻号頁・発行日

no.34, pp.141-153, 2011-03-31

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“Zhinang (Chinou)” is a book of contriving schemes of the ancient compiled by Feng Menglong in late Chinese Ming dynasty. Although some things have been pointed out about acceptance of this book in early modern Japan, no systematic arrangement and general analysis have been made.In literature, kana-zoushi “CHIE-KAGAMI” (1660) by Tsujihara Genpo is based on this book. It is pointed out that “CHIE-KAGAMI” exerted more than a little influence on Ihara Saikaku and Ejima Kiseki’s ukiyo-zoushi, which, however, I must say was an indirect influence from “Zhinang”. In fact, this book and early modern Japanese literature have an intimate relation. For instance, excerpts from this book are confirmed in similar books published in Japan such as “Kunmou-koji-yougen” and “Yugu-zuihitsu”. Also, as to yomihon “Aoto-Fujitsuna-moryouan” by Kyokutei Bakin, several ideas in his works are considered to be based on this book and his works are deeply related to this book in terms of composition as well.On the other hand, until now, acceptance of “Zhinang” has been little mentioned in other areas except in literature. Now, I want to look at how this book has been accepted in the fields of education and academia in early modern Japan.National Diet Library houses a manuscript called “Chinou-kikigaki” copied by Confucian scholar Nakai Riken which is believed to be an explanatory booklet for this book. One fifth of “Choushou-ian” compiled by other Confucian scholar Tsusaka Touyou in the late Edo period was written based on this book. It shows the Confusion scholars’ high level of interest in this book. The reasons are not only the contents of the book, but also it seems to be affected by the fact that Feng Menglong was a Yangming Xue scholar.The publication of this book in Japan compiled by a Confucian scholar Ikai Keisho was a milestone in the history of its acceptance (1821). Then, the book became widely read and known than before. People began to acknowledge the value of the book gradually and the feudal government's school Shouhei-kou published the book as the government publication, and the Hiroshima Domain and the Yoshimi Domain followed suit. That shows the usefulness of this book as a textbook.Therefore, when we think about the history of acceptance, we must recognize the two sides of the book; one is the literary side providing materials and ideas to similar books in Japan, ukiyo-zoushi and yomihon, and the other is the educational side teaching knowledge and tenets to Confucian scholars.

著者

Mikołaj Melanowicz

出版者

国文学研究資料館

雑誌

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

巻号頁・発行日

no.15, pp.98-107, 1992-03-01

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Tanizaki is well known in the world mainly as the author of "The Makioka Sisters" (Sasameyuki, 1943-48, tr. 1957) in Edward G. Seidensticker's translation, and Howard Hibbet's "Diary of a Mad Old Man"( Fūten rōjin nikki, 1961-62, tr. 1969). In the last decade Anthony H. Chambers, "Naomi" (Chijin no ai, 1925, tr. 1985) and "The Secret History of the Lord of Musashi" (Bushōkō hiwa, 1932, tr. 1982) and Paul McCarthy's "A Cat, a Man, and Two Women" (Neko to Shozo to futari no onna, 1936, tr. 1990) and “Childhood Years, A Memoir” (Yōshō Jidai, 1955-56, tr. 1988) have enriched world literature.The bizarre novel "Bushūkō hiwa" is comparatively less acclaimed, but in which the writer's main features stand out in relief admirably well.The hero in "Bushūkō hiwa" is characterized in principle as a paragon of the samurai' ethos and his fate also was typical of that of the Japanese warrior aristocracy in the Sengoku age of civil war. "Bushūkō hiwa", though different from "Ashikari" and "Shunkinshō" in that its leading character is male, in a story, nevertheless, the main events are caused by women.Kaname (“Tade kuu mushi”) , Sasuke, Shunkin (“Shunkinshō"). O'yu ("Ashikari”), Yaichi and Oichi (“Mōmoku monogatari”), as they appear in Tanizaki's novels, hold no concepts such as race, nation, native country or faith. The concepts that extend beyond the individual have no decisive influence on their thought or behaviour. Only cultural and aesthetic inducements and inmost impulse move them. A combination of these two factors is depicted most vividly in "Bushūkō hiwa", especially in a scene where a beautiful young woman is purifying a severed head with the hero looking on. The decisive and absolute factor for the hero, that is aesthetics, will be discussed in the paper.

著者

Chironov Segey

出版者

国文学研究資料館

雑誌

国際日本文学研究集会会議録 = PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:ISSN0387)

巻号頁・発行日

no.25, pp.49-56, 2002-03-01

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In order to describe the common points between Tarkovsky and Ôe we shall see Ôe's piece of short fiction, Stalker, where he deals directly with Tarkovsky's film by the same name. Stalker being based on an SF novel by Strugatskys, and also taking into account Ôe's own interest in science fiction, it is possible to draw a parallel between. both artists' preoccupation with problems modern science fiction poses, nuclear/environmental crisis of humanity foremost among those.Ôe's attention in Stalker is primarily drawn to the figure of the Stalker, or the Guide, himself. Messiah-viewed by the director, Stalker is related to the New Brother Gi, the Saviour in Ôe's Green Tree Aflame. Both are strongly conscious of the Way=Salvation motif. Now, Tarkovsky's typical Village, sought by Stalker in a postenvironmental- collapse Zone, is the same “place where to return to” or “the base” as the “little valley” of Ôe's works. There is also a parallelism between the wandering and quest by the heroes of Tarkovsky's films ― and “departure”, march in Ôe's fiction. Both artists pay special attention to the motif of mistaken departure/choice of the route, while in the discussions about the Way conducted by the heroes works by the artists of the world are widely referred to. The difficulties of the Way are also used to stress Stalker's and Gi's suffering and weakness which in turn are related to the eventual failure of Messiahs in both cases.In the focus of Ôe's attention in Stalker is also Stalker's mentally handicapped daughter. To both artists such people are “scales” where the struggling forces of Evil and Good are poised. Ôe, who had dealt with the question of whether a mentally disabled child is Christ or Antichrist as early as in his Personal Matter, accepts the apparition of the Stalker's daughter as the Second coming. Later, in Green Tree Aflame, he will revert to the phenomenon of psychic abnormalities in the example of Gi, endowed with healing ability and exercising power of will to prevent an environmental catastrophe.Ôe's interest in Stalker's family in general is connected to his preoccupation with problems of death and generation change. Both he and Tarkovsky are inclined to view these in the light of the cyclical history concept. In Green Tree Aflame Ôe is introducing his son, Hikari, and seeing him off to an independent existence―which can explain the cry of joy ("Rejoice!") the book closes upon. It is in the same way that Ôe approaches Stalker's daughter who, in his opinion, will grow into a still more powerful Guide―thus showing more optimism than Tarkovsky.The selfsame problem both artists deal with here is how to overcome death/crisis of humanity and break through into the future. Both treat this, to a certain extent, along the lines of Christianity, only it would have been impossible for Tarkovsky to follow too close in religion's steps for all the Soviet influence he had to go along with, and neither is Ôe a “believer in one specific god”. Both would rather search for the solution in the depths of the world culture, trying to bring up as much of it as possible. But then another problem arises―the inability of a modern man to fully accept culture he is vested with. Looking at what Ôe suggests in order to cope with that should be a topic for future studies.

著者

酒井 茂幸

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 = The Bulletin of The National Institure of Japanese Literature (ISSN:18802230)

巻号頁・発行日

no.42, pp.119-149, 2016-03-12

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稿者はこれまで、中世から近世に至る、禁裏・仙洞御文庫における蔵書形成の歴史を明らかにする目録学的研究を行ってきた。本稿では宮内庁書陵部蔵『歌書目録』収載の定数歌・歌会の蔵書群を主に取り上げ、霊元院の仙洞の読書を支えた歌書の書写や収蔵について考察する。宮内庁書陵部蔵『歌書目録』収載の定数歌・歌会の中には、久保木秀夫によって万治四年(一六六一)の禁裏火災により焼失した伝本の副本と認定された三四点が含まれる。今回の調査ではこれを上回る五一点が該当することが確認された。すると、霊元院の仙洞御所の御文庫は、後西天皇の禁裏文庫をそのまま引き継いでいることになる。そして、同目録収載の定数歌・歌会には、『新類題和歌集』の編纂時に霊元院とその近臣により歌頭に付された藍色菱形不審紙が三五点に見出される。目録収載の一群の蔵書は、享保年間(一七一六~一七三六) (正確には崩御の一七年)まで霊元院仙洞の御文庫に所蔵されていたことが判明する。院の側近であった烏丸光栄の日記『光栄卿記』に拠ると、享保期には霊元院の仙洞御所において、『新類題和歌集』編纂に際しての「抜書」や「校合」の作業とは関わりのない場面で歌書の献上や書写が行われている。それらの記事からは、院がより書写が古く由来が確かな伝本を探求し、また近世写本の校合による本文研究を行っていたことが知られる。The catalog scholarly study by which a draft person makes the history of ownership formation in an imperial court senhorao library to the modernized world clear from the Middle Ages up to now, I went visit. An ownership group of a fixed number song tanka party of the Imperial Household Agency note Sasakibe warehouse "Utakaki catalog" listing is taken up mainly by writing and it's considered about a copying and keeping of Utakaki who supported reading of senhora in Reigen in.Fixed number song of the Imperial Household Agency note Sasakibe warehouse "Utagaki catalog" listing A duplicate of the handed-down manuscript burned away by imperial court fire in 1661 (1661) and authorized 34 points are included by Mr. Hideo Kuboki in the tanka party. It was confirmed that 51 points which exceed this in this investigation are relevant. Then a library in Sento-gosho in Reigen in will take an imperial court library of Gosai emperor over just as it is. And fixed number song of the said catalog listing The blue rhombic doubtful paper put by the trusted vassal to Kato with Reigen in at the time of compilation of "new similar problem anthology of waka poems" is found by 35 points in a tanka party. It's revealed that you possessed ownership of a group of catalog listing in a library in Reigen insenhora to the Kyoho year (1716-1736) (correctly, 17 years of demise).When it depends on diary of Karasuma Koei which was a staff of in "honor Lord account", extraction on the occasion of "a new similar problem, anthology of waka poems" compilation and work of proofreading are the situation which has no concerning in Sento-gosho in Reigen in in a Kyoho period, and Utakaki's presentation and copying are performed. It's learned from those articles a copying was older and origin searched for a certain handed-down manuscript, and that in was doing a body study by proofreading of a modern period manuscript again.

著者

大友 一雄

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 アーカイブズ研究篇 (ISSN:18802249)

巻号頁・発行日

no.2, pp.95-109, 2006-03

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江戸幕府という、当時にあって最も整備された巨大組織において、組織運営に関する知識や技術は如何に継承されたのであろうか。組織は自らの維持発展に関わり、知識や技術を後進に伝えるための仕組みを内包することになるが、その仕組みについて、従来注目されることはほとんど無かった。また、この仕組みは基本的に組織のあり方に規定されると考えられるが、組織のあり方そのものに関しても充分な研究があるとはいえない。アーカイブズ学においては、記録を発生させた組織について、その理解を深めることが欠かせない。本報告はそうした取り組みの一つである。具体的には幕府寺社奉行を事例に、新任の者が如何に体制を整えていくのか、従来ほとんど検討されてこなかった「師範」という存在に注目して、その方法を明らかにしたものである。なお、新任への情報の伝授は、各役職がそれまで貯えた知識や技術がもっとも体系化されて行われるため、継承すべき情報の全体像を把握する上でもっとも有効な場面といえる。また、その場面は、組織のあり方、その性格がもっとも露出する場とすることもできよう。残された課題は多いが、組織における知識や技術の伝達に関わる一端が明らかにされたといえる。The Edo Shogunate was the largest and the most systematic organization at that time. How did agencies in that organization succeed their administrative knowledge and techniques to the successors?Agencies have a system to transfer their knowledge and techniques to the next generation in order to retain and develop themselves. However, almost any study on the Edo Shogunate has not paid much attention to that system. It is also not studied enough about how was the organizational nature, which basically decides what the succession system was like.Archival science emphasizes the importance of analyzing and understanding the nature of record creating agencies beforehand in order to understand records. The author made the analysis about the magistrate of temples and shrines (Jisha-Bugyo) in the Edo Shogunate from a perspective of archival science.This article examined how a newly-appointed magistrate had trained by another senior magistrate, the instructor (Shihan).Analyzing the succession to the new comer is the most effective way of understanding the whole transmitted information. The reason is that at the point of transmission, administrative knowledge and techniques are most arranged and structured. Another way of saying is that organizational structure and nature become explicit most clearly at the time of transmission. The article investigated a case of the organizational communication of knowledge and techniques in the Edo Shogunate.

著者

KOIDA TOMOKO

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要. 文学研究篇 (ISSN:18802230)

巻号頁・発行日

no.43, pp.12-39, 2017-03

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14 世紀から17 世紀にかけて制作された短編の物語群であるお伽草子(室町物語)には、前代までの物語とは異なり、貴公子や姫君だけでなく、武士や庶民、芸能者や宗教者、神仏や異類にいたるまで、実にさまざまなモノたちが物語の主人公となって多彩な活躍を見せる。奇想天外な物語は絵とも結びつき、素朴な絵本から豪華な絵巻まで、多種多様な展開を見せ、形成・享受の層を拡げていった。本稿では、そのようなお伽草子について、先行研究や近年の研究動向をふまえながら、そこにあらわれたさまざまな女性像を概観し、とくに「変化」と「異界」という二つの観点から、物語草子をめぐる女性の役割の多様性について論じた。お伽草子を女性という視点から読み解くことは、近年の諸分野横断的、かつ国際的な研究状況においてもなお、極めて有効な方法と考える。そのため、本稿では、国際共同研究の成果発信のひとつとして、物語草子をめぐる女性の諸問題を英文によって概述した。なお末尾には、研究案内をかねて、近年刊行された物語草子に関連する主要な研究書の一覧を付した。The term otogi-zōshi refers to a group of short tales produced during the Muromachi period, that is, from the fourteenth to the seventeenth century. These Muromachi-period tales differ from their predecessors insofar as they feature not only princes and princes, but members of the warrior class, commoners, dramatic performers, religious figures, deities, animals, and a great array of other various non-human creatures. These tales present us with a number of vibrant worlds full of action. Naturally, such bizarre and fantastic worlds lend themselves readily to pictorial representation. As the art of illustrating otogi-zōshi evolved from relatively simple picture books (ehon) to splendid picture scrolls (emaki), so, too, did their readership expand to include ever greater numbers of people.This paper, after reviewing previous scholarship and considering some modern trends in this field of research, proceeds to discuss the various roles of women as they appear in Muromachi tales. More specifically, I have attempted to consider this topic in the light of two main themes, namely, metamorphosis and other worlds. Reexamining Muromachi tales from the perspective of women is especially promising in virtue of the fact that it resonates so well with similar attempts being made in other fields of modern research, both within Japan and abroad. It is in hopes of furthering the cause of international collaborative research, therefore, that I have decided to publish my research in English. Furthermore, as a means of opening up this field of research, I have thought it fit to conclude this paper with a selected list of recent publications relating to the field of Muromachi tales.

著者

中嶋 英介

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 = The Bulletin of The National Institure of Japanese Literature (ISSN:18802230)

巻号頁・発行日

no.43, pp.183-209, 2017-03-16

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本論文は廣瀬豊編纂『山鹿素行全集思想篇』(岩波書店、一九四〇~四二)の翻刻方針や書誌情報を見直したものである。『全集』は廣瀬豊が各地で行った資料調査をもとに収集・編集され、今日までも数々の先行研究で基礎的文献として利用されている。しかし『全集』は数多くの問題点を残した。『治平要録』や『山鹿語類』では朝廷批判や被差別部落に関する用語を削除しており、全て原典に沿って翻刻されたわけではない。また、『治教要録』は広瀬の調査当時に欠本していた巻が別の体裁で現存しており、書誌情報が大きく異なっている。では今後、我々はいかにして素行の文献に触れたらよいのだろうか。平戸山鹿家の文献は、長年平戸積徳堂に所蔵されていたが、明治期に一時松浦伯爵家(豊島区)に移る等、一部点在していた。近年は国文学研究資料館に特別コレクション「山鹿文庫」として移管され、一部史料をのぞいて閲覧可能である。そこには素行の著作のみならず、平戸積徳堂に伝わる文献目録等が所蔵されており、史料点数は一三〇〇以上にものぼる。『全集』の活用自体はあるべきとは思うが、翻刻姿勢に難を抱えるばかりでなく、編纂者廣瀬豊の意向が色濃く残っている。かかる前提のもとで、今後は山鹿文庫等を軸に原典との照合を踏まえた素行研究が必須といえよう。This paper is a reconsideration of the editing decisions and bibliographical history behind the Complete Works of Yamaga Sokō: Philosophical Essays (Tokyo: Iwanami shoten, 1940-1942), edited by Hirose Yutaka. This corpus, the result of Hirose’s efforts at gathering together and editing a large body of otherwise scattered material, has been, and still is, adopted as the base text for studies related to the philosopher Yamaga Sokō (1622-1685). Despite its privileged status, the Complete Works is not free of problems. For example, the essays entitled “Notes on the Art of Governing ” (Chihei yōroku) and “ Classified Sayings of Yamaga ” (Yamaga gorui) contain criticisms of the court along with observations on what are now referred to as outcaste hamlets (hisabetsu buraku, in existence during the Edo period and only nominally abolished in 1871). All of these sensitive passages have been expurgated. The Complete Works, therefore, is by no means a completely faithful reproduction of Yamaga’s writings. Moreover, in reference to bibliographical history, one of the fascicles of “Notes on the Art of Governing” was missing at the time when Hirose conducted his research. Though this missing portion has since been rediscovered, it belongs to a completely different manuscript. The relationship between this fascicle and the manuscript from which Hirose made his reproductions is not yet clear. How exactly we ought to approach Yamaga’s extant writings is still a matter of some uncertainty.The Yamaga family manuscripts were for many years housed in the Sekitokudō at Hirado (Nagasaki). During the beginning of the Meiji period, a portion of these manuscripts was moved to the Matsura mansion (in modern-day Toshima, Tokyo), leaving the collection scattered between two locations. In more recent years, these manuscripts have been transferred to the National Institute of Japanese Literature, where they now form what is known as the Yamaga Collection. Aside from a small number of historical documents, the majority of the collection is available for viewing. This collection consists not only Sokō’s writings, but an assortment of other documents, including bibliographic glossaries, for a total of more than 1,300 items. While the Complete Works is certainly a most useful resource, problems consequent upon Hirose’s editing choices still remain. Careful consultation of the original manuscripts is most certainly required.