著者

Tan Daniela

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.32, pp.119-131, 2009-03-31

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Previously, Ōba Minako has not generally been considered a writer of the "introverted generation" (naikō no sedai). Nevertheless, in some more recent publications her work is being re-read in this context, due to the dynamic flow of thoughts linking the inner and the outer world, which enables also a way to express memories. Furuya Kenzō compares the sceneries in her texts to the inner landscapes "every person keeps somewhere in a deeply hidden place of one's mind".At a first glance, the expression of the self in Ōba's works seems to be very exposing. But how does the reader get involved with the inner world of the narrator? What writing strategies does Ōba Minako employ to cross the borderline between the inner and the outer world, and thus, to engender the dream-like atmosphere of her works?The analysis of her writing technique has found three main strategies: (1) the direct transition from the observation of the narrator's environment to the inner flow of thoughts ("stream of consciousness"); (2) the permanent blurring of past and present; (3) the interweaving representation of dream and reality.The reading of Ōba Minako's work, as proposed in the present paper focuses on the second strategy, the blurring of past and present. It argues that her way of narrating the past perfectly corresponds to the nrrrator's inner perspective. Ōba was born in 1930, and therefore belongs to the generation that experienced World War II in their youth. After her rather late debut, in 1968, the trauma that had been buried for a long time broke its way through narration.Applying narratological methods, this paper analyzes the narratives of past and present in Ōba Minako's literature.

著者

Baykara Oğuz

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.27, pp.185-207, 2004-03-01

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When Satô Haruo pointed the similarity between Shunkinshô (1933) and Thomas Hardy’s Barbara of the House of Greve, Tanizaki Junichiro had no objections to it and he rationalized the situation in his own way. Looking at it now from our contemporary perspective, it would surely be considered imitation, however to appreciate the originality of a certain work of art we have to consider the conditions that gave birth to it.Tanizaki has read tremendously the fin de siecle psychologists like Krafft-Ebing and the literary works of Poe, Baudlaire, Stringberg or Gorky in an atmosphere when modernism or cosmopolitanism was at its climax.How shall we judge his work? Was it a mere imitation? Or is it an original work of art? The fact is that Tanizaki has produced his work after having read and digested the western civilization thoroughly.The artistic production is only the tip of an iceberg of the author's creative genious. Though the critics or the authors sometimes try to explain the literary works, they often neglect the subconscious which is constitutes the larger part of the iceberg.Investigating the subconscious, will enable us to grasp the multilayeredness of a work of art. We then, will be able to recognize its originality through a series of analytic interpretations, which, even the author himself might be unaware of.I examined Tanizaki’s Shônen (The Children, 1911) critically and tried to analyze the symbolism in it with a fresh insight. Tanizaki, since the early stages of his career has always been at the mercy of the censorship authorities and often resorted to symbolism in his works; but it has reached to its peak in Shônen. In this work he did not imitate the west, but he took it as a model to compare it with his own. He laid down the tools and values in two sets like “Japan” and “The West” and knitted a highly structured symbolism around four children in Shônen. It was also his earliest declaration of his aesthetic programme" and it guided him through the literary path during the whole course of his 60 years’ authorship.

著者

伊藤 陽平

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 = The bulletin of the National Institute of Japanese Literature. 人間文化研究機構国文学研究資料館 編 (ISSN:18802249)

巻号頁・発行日

no.16, pp.39-55, 2020-03

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本論の目的は、1950~60年代に展開した公文書管理改善運動の中で、行政の意思決定の中核を担っていた稟議制の性格が変容する過程を考察することである。公文書管理改善運動を推進していた人事院、行政管理庁は、末端の起案者から決裁権者の行政長官までが印判を押す稟議制による意思決定を非効率的だと認識していた。戦後初期まで、稟議制は実務に長けたベテランの下級官僚の属人的能力によって運用されており、彼らの影響力をいかに抑えるかが大きな課題となった。高度成長が本格化すると、行政需要の高まりとともに決裁文書も増大した。加えて、財政悪化を抑制するため、公務員数も抑制する必要が生じた。その結果、少ない人員で大量の文書を扱うことができる能率的な行政意思決定が必要となった。こうした状況を背景に、行政管理庁による公文書管理改善運動の最中、決裁権限の委譲と決裁規則の整備が各省庁で進行し、属人的に運用されていた稟議制はよりシステマティックな性格を帯びていった。公文書管理改善運動は、ベテラン下級官僚の力量に依存した属人的行政運営から、一定のマニュアルに基づくシステマティックな行政運営への転換を、文書行政の側面から促進するものであったと言えよう。

著者

西村 慎太郎

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 = The bulletin of the National Institute of Japanese Literature. 人間文化研究機構国文学研究資料館 編 (ISSN:18802249)

巻号頁・発行日

no.16, pp.1-15, 2020-03

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本稿は筆者が現在展開している東京都西多摩郡檜原村を事例として、同村がどのような歴史資料(主に古文書)の保全を進めてきたか、文化財行政や郷土史の動向を踏まえた上で、歴史資料の保全・資源化・活用の現状と課題、実践と可能性を提示するものである。また、筆者が檜原村と関わりを持つ契機になった文書群の目録編成についても合わせて述べてみたい。 檜原村は1970年代から80年代にかけて、自治体史編纂や郷土史研究、資料保全が盛んであり、郷土資料館建設にまで至った。昨今の全国における地域に遺された古文書の散逸状況を踏まえて、檜原村の現状をヒアリングした結果、多くの課題が遺されていることを知り、「檜原村における歴史資料(特に古文書)の保全・活用についての提案」を教育委員会へ提案した。その際、歴史資料が地域のアイデンティティであるという言説は、現代社会において通じにくいため、一文書群を事例として、アーカイブズ的な目録編成を行い、その文書群の特徴を提示することで、教育委員会に対して重要性を提起した。 学術的には、アーカイブズ学と歴史学、地域歴史資料学をミックスして、地域貢献や地域持続を住民とともに目指すことの実践を提示する。

著者

岩橋 清美

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 Institure of Japanese Literature (ISSN:18802230)

巻号頁・発行日

no.46, pp.171-201, 2020-03-16

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本論文は、太陽黒点観測記録をもとに、十八世紀後半から十九世紀にかけての天文認識について論じたものである。具体的には寛延二年(一七四九)の江戸幕府天文方の観測が記されている「三際図説並寛保以来実測図説」、寛政五年(一七九三)に京都伏見で行われた観望会の記録「望遠鏡観諸曜記」、天保六年(一八三五)に自作のグレゴリー式反射望遠鏡を用いて国内で初めて約一年にわたる観測を行った国友一貫斎の「日月星業試留」を分析対象とした。これらの観測記録を通して、暦学に直接、関係しない天体の運行や天体表面の観測に興味を持った知識人と職人の文化的な繋がりを明らかにした。職人たちは、西洋の精巧な技術に魅せられ、それを趣味的に追求していくことで、結果として天文学における新しい分野を創出した。こうした彼らの天文学への関心の背景には、観測記録の写本の流布や天文書の出版があったのである。

著者

木村 迪子

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 Institure of Japanese Literature (ISSN:24363316)

巻号頁・発行日

no.47, pp.63-95, 2021-03-29

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西本願寺二代目能化・光隆寺知空は承応の鬩牆を契機として西吟教学からの決別を果たし蓮如義に移行したと言われる。近年、これに反論して知空の西吟教学継承を説く動きが顕著である。まず、本稿では主にテキストから検証されてきた知空による西吟教学の継承を、これまで検討されてこなかった明暦三年に行われた知空の講義録二書に注目し、その証左とする。第一に、知空が講義に選んだ『浄土或問』ならびに『仏遺教経論疏節要』が明代の禅僧・雲棲袾宏の注釈を附した和刻本であったことを指摘し、明暦三年時点で知空による西吟教学の踏襲があったことを明らかにする。次に寛文元年刊行の『和讃首書』が当時禅籍にのみ用いられていた頭書形式を踏襲していたことを指摘する。次に、明暦三年の知空の講義録『浄土或問鉤隠』が天和三年刊頭書本『浄土或問』に利用され、またその増補再版に浄土宗西山派の学僧・諦全が補考を附した事実から、元禄期における仏典注釈の交雑化を指摘する。十七世紀における頭書本仏書の流行は重板類板の規制強化を受けて急速に衰えたが、寛文末頃から不遇を託っていた知空は元禄八年の学林再興と共に能化に返り咲き、以後、今度は大坂の書林・毛利田庄太郎らと組んでその仏典注釈板行を行った。こうした積極性、柔軟性は知空に限定されず、十七世紀仏教と宗学への積極的な評価に繋がるものである Chiku was a scholar priest belonging to Buddhism's Shin sect and this paper attempts to re-evaluate Japanese early modern Buddhism byelucidating his annotations of Buddhist commentaries and their development. Of note is that the Zen character found in Chiku's writings is a reflection of his teacher, Saigin. Chiku tried to overcome'承応の鬩牆'by using Zen perspectives derived from the Shin sect. Significantly, it has come to light that a record of Chiku's lectures was used by the annotation published in 1683. Moreover, the book reprinted in 1690 was added annotations by Taizen, a scholar of the Jodo sect. This is proof that at the end of the 17th century, the Buddhist annotations that had been communicated independently by each sect were, in fact,compendiums of various authorities. From the beginning of the 18th century, the publication of Buddhist annotations declined rapidly against the backdrop of tightening publishing regulations. But Chiku's lectures were published by his disciples from bookstores in Osaka. It can be concluded that Chiku's progressive stance also spread to other Buddhists in the early modern period, and that this can be viewed as a positive characteristic of Japanese early modern Buddhism.

著者

高見 純

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 = The Bulletin of The National Institure of Japanese Literature, Archival Studies (ISSN:18802249)

巻号頁・発行日

vol.51, no.16, pp.17-37, 2020-03-16

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13世紀以来、イタリア北中部では都市政府による記録文書の保存と管理が本格的に開始された。干潟の大商業都市ヴェネツィアも例外ではなく、15世紀以降に書記局を中心に過去の記録を整理し、文書形成と管理を拡大的に整備・進展させ、現在でも、ヨーロッパで有数の量の記録文書を伝え際だった存在感を示す。 これまで、ヴェネツィアの文書管理については、書記局官僚の形成とともに、主に都市政府による統治・行政の範囲内で解明が進んできた。一方で、都市政府という枠組みの外にある民間実践については、十分な検討が進んでこなかった。 そこで、本稿では、13世紀に成立し、15世紀以降に都市の主要な慈善団体の1つとして近世まで大きな存在感を有し続けた大規模宗教兄弟会を事例にして、同団体による文書管理を検討する。それによって、慣習法の蓄積への対応に追われた都市政府による管理との類似性が指摘されるとともに、15世紀から16世紀前半にかけて多くの遺産管理を担うことになった同団体の事情が文書管理に及ぼした影響も考察される。また、本稿の事例によって、都市ヴェネツィアにおける幅広い<アーカイブズ実践>の社会状況についての一端を明らかにすることも期待される。

著者

鈴木 淳

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:18802230)

巻号頁・発行日

no.21, pp.213-255, 1995-03-25

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本稿は、前稿を引継いで、好古の学芸家謙亭小宮山昌世の後半生すなわち代官罷免後から死没までを年譜形式で考察したもの。その間、師太宰春台と交際を深め、賀茂真淵の弟子でもあった河津長夫の碑銘を撰し、関鳳岡門下の『篆書唐詩選』の刊行のために周旋、さらには自著『発蒙書柬式』を出版するなど、漢学に傾注した。またその前後、甲斐の加賀美光章に慕われ、その文庫設立に助力、ついで『名賢和歌秘説』など歌書の繕写に親んだ頃には、後の山手連の狂歌師山手白人との交際も推知される。晩年は居を小石川隆慶橋畔に卜して、昌世の真骨頂とも言うべき雑史『竜渓小説』を編み、さらにその別巻として、英一蝶らの流刑事件に生々しく迫った『民蝶半記事伝』を共謀の仏師民部からの聞書としてまとめるが、当該書は山東京山の『英一蝶流論考』による紹介を経て、今日まで一蝶伝の第一級資料としての価値を失わない。 This article was succeeded a previous one to consider the latter life of Kentei Komiyama Masayo who was an antiquarian and a man of arts and sciences in a chronological history form from after his dismissal of Daikan to his death. During those years, he became intimate with his master Dazai Shundai, selected inscription of Kawazu Nagao who was a pupil of Kamono Mabuchi, procured for publishing “Tensho To-shisen”(篆書唐詩選)by disciples of Seki Shikyo, also he concentrated the Chinese classics and published his book “Hatsumoshokanshiki”(発蒙書柬式). Before and after that, since he endeared himself to Kagami Mitsuaki of Kai, he helped the establishment of library for Kagami Mitsuaki. When he got close to a repaired book “Meikenwakahisetsu”(名賢和歌秘説), it was inferred that he was also an acquaintance with a writer of comic tanka of Yamate-ren(山手連) Yamateno Shirohito. He edited a miscellaneous facts “Ryukei-shosetsu”(竜渓小説)which should be called the true worth of Masayo’s works living at the ridge of Ryukei bridge in Koishikawa in his later years. Moreover as an extra issue, he gathered “Minchohankijiden”(民蝶半記事伝)which was vividly described banishment of Hanabusa Icho and others as Kikigaki(聞書)from accomplice Minbe who was a sculptor of Buddhist statues . This book has been of value as the primary document until today after an introduction of “Hanabusa Iccho-ryu Ronko”(英一蝶流論考)by Santo Kyozan.

著者

葦名 ふみ

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 Archival Studies (ISSN:18802249)

巻号頁・発行日

no.04, pp.39-81, 2008-01-20

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本稿は写真資料の管理と史料認識について<「憲政資料」(国立国会図書館憲政資料室)のなかの写真>を素材に検討するものである。この際、個人資料/文書(もんじよ)を中核とする、という「憲政資料」の性格に特に注意を払う。アーカイブズ界が直面している「多様な資料に同時に向き合いつつ、個別資料の特性を生かす」という問題に「憲政資料/写真」の事例から接近することが本稿の目的となる。前半(1章)では、収集/整理/目録記述などの過程に即して、管理面の課題を検討する。その上で「憲政資料」中写真には、アーカイブズ情報が豊富に含まれているが、憲政資料室の管理(特に目録記述)においては、この種の情報が十分に表現されてこなかったと指摘する。一方、後半(2章)では、史料認識面に着目する。具体的には幕末・明治期のカルト・ド・ヴィジットや肖像写真の「授受」のありようを、当室所蔵資料(写真や書簡)を用いて紹介する。以上の検討から①「憲政資料」(ひいては個人資料)からも、写真の来歴(授受、保管など)の情報が得られること、②そのような個性を生かすべく写真の管理を行う必要があることを提起する。また、憲政資料/写真の接点を探ることで得られた知見をどのように応用しうるかについても若干の展望を述べる。In this paper, the author surveys the characters of photographs as archives, and the archival information that they have, in the collections on modern Japanese political history (kensei-shiryo).The materials on modern Japanese political history held by the Kensei-shiryoshitsu,National Diet Library, consist of some 400 collections (estimated at 280,000 items) of personal papers of statesmen, Diet members, high-ranking civil and military officer's and others who played important roles from the end of the Edo Period to the present. These collections contain some 6,500 photographic prints (including albums) in total.The first half of this paper examines the archival processing of photographs, such as accession, arrangement, and archival description in the Modern Japanese Political History Materials Room. These photographs were collected together with other unpublished documents, including manuscripts, diaries, correspondence and memoranda. It is possible to get information on the history or context of the photographs.The latter half of this paper gives examples of some 750 “carte de visite'' photographs in the 19th century Japan, and analyzes the context and background of them: when and how statesmen, military officers, etc. exchanged their own portraits.However, the system of archival description in the Kensei-shiryoshitsu is rather simple and insufficient to describe the character of the photographic collection. Careful administration is needed to make the most of the characteristics of the photographs.

著者

細谷 篤志

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 = The Bulletin of The National Institure of Japanese Literature, Archival Studies (ISSN:24363340)

巻号頁・発行日

vol.52, no.17, pp.81-111, 2021-03-29

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本稿では、近世朝廷における組織的な記録管理の実態について、口向を事例に検討した。 口向とは、近世において御所の日常業務を管掌した組織・空間のことで、そこに勤仕し た実務担当者を口向役人という。彼らは、朝廷内での広範な実務や雑務に対応した役職に 就き、朝廷の円滑な運営に貢献した。また、江戸幕府から派遣された旗本の禁裏付武家が 実質的に口向役人の任免を司ったことから、口向は幕府による朝廷統制の末端に位置づい ていたといえる。 その役人集団のなかに、文書・記録管理に専従する役職として「日記役」があった。正 徳5年(1715)の設置以来、幕末まで計64名の就任が確認される。同役が筆録した記録 には「禁裏執次所日記」があり、その一部である計71冊が宮内庁書陵部に現存している。 収載内容は、口向役人に関する事柄のほか、朝廷の年中行事や、天皇・公家らの相続、幕府・ 諸大名による朝廷献上物など、きわめて多岐にわたる。 同記録は、口向の筆頭職「取次」が職務上の必要から利用したものと思われるが、その作成や簡便な利用のために、日記役を中心として口向の諸職が組織的に動員された。さら に記録の情報源は、朝廷の各部署などから取次にもたらされた文書類が中心であったと みられる。したがって、朝廷全体での出来事を総括した公的記録たる「禁裏執次所日記」 の管理は、口向の組織的基盤と取次の情報集積機能によって存立していたと考えられる。The example of “Kuchimuki” is used in this paper to examine the actual circumstances of systematic records management in the early modern imperial court. “Kuchimuki” refers to the organization responsible for the daily work of the early modern imperial palace. The persons in charge of the organization’s business are known as “Kuchimuki-yakunin”. These individuals hold positions that correspond to various businesses in the imperial court and contribute to its smooth operation. Among these groups of officials, there is a position known as “Nikki-yaku” that is dedicated to records management. These individuals write the Kinri-Toritsugisho-Nikki, in which various events of the imperial court have been recorded. Seventy-one books still exist in the archives and the Mausolea Department of the Imperial Household Agency. These records were thought to be used by “Toritsugi”, the primary profession of “Kuchimuki”, because of its duties. The various “Kuchimuki” professions were systematically mobilized for its creation and simplified use centering on “Nikki-yaku”. The information sources for these records were also thought to center on the documents brought to “Toritsugi” by each department of the imperial court.

著者

湯上 良

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 National Institure of Japanese Literature Archival Studies (ISSN:18802249)

巻号頁・発行日

no.13, pp.51-60, 2017-03-16

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現在、イタリアの国有アーカイブズは、各地の国立文書館に移管され、非国有アーカイブズに関しても、各地の文書保護局が所在調査や監視、保護のための助言や災害時の救助などを行っている。すなわち、公文書・私文書を問わず、保存や保護、公開の体制が整備されていると言える。 イタリア統一当初からアーカイブズの重要性が認識されていたが、長く複雑な歴史的背景をもつため、非国有アーカイブズの保護に関しては、私有権の問題も絡み、困難な状況にあった。統一から半世紀が経過した時期に、非国有アーカイブズを取り巻く状況が危機ものとなり、学界や教育の分野から徐々に改善に向けた取り組みがなされていった。 ファシズム体制末期に、国が非国有アーカイブズに対しても公的保護を行う機関を創設する法律が成立し、体制が整備されたが、具体的な施策の実施が困難であった。しかしこの法律は、逆説的ではあるが、体制崩壊後のアーカイブズの散逸や廃棄を防ぐのに一定の役割を果たした。 戦後、非国有アーカイブズの保護における所有者と国との関係は、協調的な形に変化した。許可のない廃棄等には厳しい姿勢を取りつつも、保護に前向きな所有者に対しては、保存処置にあたっての税制の優遇措置や、財政的な助言を与えるなど、権利と義務を通じた形で非国有アーカイブズの保護に国が積極的に関与した。その結果、豊かなアーカイブズ遺産が現代に受け継がれているのである。State-owned archives in present-day Italy are kept in a number of National Archives (Archivi di Stato) located throughout the country, while the location and supervision of non-state-owned archives are managed by the Superintendence of Archive (Soprintendenza Archivistica), likewise located throughout the country, which furthermore offer advice for preservation, and rescue archives in case of natural disasters. In this way, both public as well as private archives are preserved, protected, and made accessible to the public.The importance of archives was already recognized right after the Italian unification. Due to a number of complex historical circumstances, non-state-owned archives remained in a precarious state, exacerbated by issues of private ownership. Some fifty years after the unification of Italy, the fate of non-state-owned archives became all the more ominous, leading academic and educational institutions to begin activelyformulating strategies to ameliorate the situation.Around the end of fascist rule (1922-1943), the Italian government created laws for the establishment of public institutions aimed at preserving non-state-owned archives. The actual establishment of these institutions, however, was fraught with much difficulty. These laws served to prevent a number of archival documents from being scattered or lost after the fall of the fascist regiment.After the war, the relationship between the nation and the owners of non-state-owned archives became one of mutual cooperation: discarding archived material without permission became a serious offense; the government attempted to assist the owners of these archives by offering tax exemptions to defray some of the costs for preserving these documents, as well as offering financial advice. The Italian government strives to fulfill its duty to protect non-state-owned archives by ensuring the rights of their owners. It is thanks to such efforts that Italy is now blessed with such a rich array of archives.

著者

楊 琇媚

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.28, pp.139-160, 2005-03-01

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Ootsuyama Kunio pointed out that "From Taisho 3, the internal ethical center of Mushanokouji shifted greatly from that of a "naturalist" who prided himself on strength and freedom, to a "humanist" who sought to align himself with love. One external cause for this was no doubt the occurrence of World War One" (Mushanokouji Saneatsu Ron, June Showa 49). In addition, he writes that Mushanokouji's anti-war position is eloquently stated in seven works beginning with Kare ga Juusan no Toki (Taisho 3), and if on top of these his various opinions were included, he could be said to be the writer most deeply involved with World War One.Clearly, in a time where people were drunk on the new wealth brought into their daily lives due to the economic prosperity from WWI, and when Mushanokouji also entered into the high point of his life, his focused anti-war stance deserves attention. However, the creation of the "new village" with no-war and peace as its foundation and his move away from it, along with his trip to Europe and the United States, that is, following the larger chapters in experience in Mushanokoji's life, he stepped away from the fiercely anti-war attitude held during WWI, and had become a war sympathizer with the self-published work Daitoua Sennsou Shikan and the play Sanshou.This collapse in Mushanokouji's position regarding war has been looked at by critics such as Ootsuyama Kunio and Honda Shuugo.However, the problem this presentation seeks to bring up is that, although Mushanokouji is displaying a break with his position on war, has in fact his conception of war changed all that much?This presentation will therefore look at two works, the play Aru Shounen no Yume, thought to be the most representative work from his anti-war pieces, and Daitoua Sennsou Shikan, seen as being his most sympathetic to war, in order to examine the essence of his thinking on war. Based on this, the presenter will attempt to make clear the reason for Mushanokouji's shift in his attitude towards war.

著者

Clements Rebekah

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.34, pp.79-87, 2011-03-31

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Recent years have seen an increase in studies of the way classical Japanese texts were received during the pre-and-early modern periods. However, research of this nature often concentrates on scholarly commentary at the expense of other types of reception materials. In this paper I will consider the significance of vernacular translation of the classics during the Edo period, focusing on translations of Genji monogatari. There were at least twelve such translations of Genji from Edo through into Meiji, not to mention translations of Ise monogatari and Kokinwakashū. The three earliest vernacular Genji’s are: Fūryū Genji monogatari, 1703, by Miyako no Nishiki (1675-?); the translation published as a series by Baiō (dates unknown) between 1707-1710; and Shibun amano saezuri (Murasaki’s Writings in the Gibberish of Fisherfolk, 1723) by Taga Hanshichi (dates unknown). I will consider who the intended readers of these translations might have been, and discuss the terminology used by each translator to describe their work.

著者

渡辺 守邦

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.15, pp.135-165, 1989-03-25

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むかし、祖母の語った安倍の童子の咄は、歳月のベールに隔てられて、記憶もおぼろげである。それゆえであろうか、かすかな太棹の三味の音を伴って甦ってくる。この一話の世上への伝搬に『蘆屋道満大内鑑』のはたした功績の大きかったことは疑いないが、それだけではなかった。江戸時代を通じて、演劇とは双子の関係にあった小説の分野にあっても取り上げられ、数々の作品の刊行をみている。また、明治の御代にいたるまで盛んに行われた、仏教講釈の演目の内にも含まれていた、という。暦数書の注釈に発した清明伝承が、さまざまなジャンルに文芸化されたありさまと、作品相互の間の関りについて調べてみることは、われわれの持つ清明像の依ってきたる所以を明らかにすることにもなるはずである。 A memory of a story of Abe-no-doji (childhood name of Abe no Seimei) which my grandmother told me long time ago is vague separated by a veil of time. That may be why it is associated in my memory with the faint sounds of Futozao (broad-neck) shamisen. There is no doubt about the great achievements that “Ashiya Doman Oouchikagami”(蘆屋道満大内鑑)produced as for propagation of this story to a public, however this was not all. It was taken up for the field of novels which had a twin-like relation with field of the Dramatic Arts, many works were published. In addition, it is said to be included on the program of a Buddhism lecture carried out actively up to the reign of the Emperor Meiji. To investigate the state that a legend of Seimei which had its beginnings in explanatory notes of the Rekisusho (the number of years book) was changed into literary arts in various genres and to try to investigate about the mutual relation with each work should be going to clarify the reason of the image of Seimei that we have.

著者

王 成

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.19, pp.77-86, 1996-10-01

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Autumn Sorrow (aki no nageki) is a short story by Fukunaga Takehiko, first published in the literary magazine "Meiso" in November, 1954.One of many experimental works by Fukunaga, who is regarded primarily as an avant-garde writer, this story is highly complex in both language and design. The reader is drawn into the solitary world of the heroine Sanae, whose brother died by his own hand one autumn night ten years earlier. In his depiction of her lonely existence, Fukunaga resolutely confronts "time"― here portrayed as a phenomenon of evil -and analyses in detail the interaction between time and fiction. In this paper I would like to consider the relation in the story between the structure of time and the development of the narrative. In Autumn Sorrow, the author consciously denies the continuity of time by overlapping and intertwining past and present within the story, thus advocating to the reader a restructuring of time guided by the creation and judgement of reader and author. Fukunaga constantly shifts time from the present to the past in successive sentences, or even within a single sentence. I would like to examine the ways in which Fukunaga deals with these timeshifts.Autumn Sorrow develops the theme of combining the chronological time of the story itself with the psychological time of the heroine, Sanae. I would like to examine the function of time and memory within the structure of the story.Fukunaga sees creative co-operation between reader and author as the ideal component for construction of a story. To draw the reader completely into the world of the story, he has created not just an artificial time structure, but a story in which he measures the distance between the author, the characters, and the reader. In Autumn Sorrow, direct and indirect narratives are skillfully mixed, with dialogue expressed on the same level as the prose, removing the borders between the real world and the inner world of the characters, aiming at a single level for reader, characters, and author.The principal motifs of the story are war, and the heredity of madness. The construction of the story, involving as it does the setting and solving of various puzzles, leaves the story open to numerous, many-sided interpretations.

著者

水野 達朗

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.30, pp.193-206, 2007-03-30

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Kunikida Doppo, embedded during the Japanese-Sino war, wrote in Aitei Tsuusin about the "Chosen" he saw while aboard a warship sailing north, saying "But my brothers, the view of the Daidou inlet, the situation of the thatched houses of Chosen, my feelings now. I have no time to write in detail of them now." He goes so far as to express that he will "not write" of anything that he has seen of "Chosen", which is in contrast to others, such as Matsubara Iwagorou, also dispatched from Minyuusha, and in writing for Seijin Yoroku shows his intention to make clear the "situation inside Korea", writing "in detail" of the "reality of the Chosen thatched houses", in passages like "They pile rocks to build an enclosure, bind grass and make it a roof, build something of a wall with earth, and with logs" Doppo's hesitance to write is also revealed in passages like "So, it seems there is not a lack of things to experience. However, this is only a fleeting sense of novelty". Although it is possible to follow his writing towards a "view of Chosen" or "representation of Chosen", the meaning of his hesitancy to write in itself as it appears in this scene requires an internal examination of the relationship between expression of "Chosen" by Doppo and other embedded journalists and the problem of "expression" in Japanese literature at the time. In this example, it is clear that depicting visual scenes creates deep frustration for Doppo. Looking at his feelings as only lasting for a "fleeting" moment indicated that Doppo drew serious questions on himself as to what was worth writing about. At the time , when the boarders of "literature" were being redefined in Japan, there was an orientation towards depicting things as they are "realistically", while the "meaning" of expressions guaranteed through traditional representations were losing their stability. In this presentation, we will examine the mechanisms that surface when "Chosen" becomes the object of realism and the frustrations of writers in "expressing" Chosen, then look at what possibilities and problems were involved in developing "modern" literary expression inside the cultural environment of East Asia.

著者

佐藤 大悟

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 = The bulletin of the National Institute of Japanese Literature. 人間文化研究機構国文学研究資料館 編 (ISSN:18802249)

巻号頁・発行日

no.15, pp.53-70, 2019-03

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本稿は、明治太政官期の修史部局の記録管理を分析するものである。太政官の記録管理部局から派生した修史部局は、歴史を編纂する修史的側面に加え、史料や図書の収集・管理といったアーカイブズ的側面を併せ持つため、当該期のアーカイブズ認識や制度を検討する上で重要な一事例である。歴史課の成立経緯を、「記録編輯」の編纂物を提示しつつ、明治元年11月記録編輯掛、3年11月記録編輯局、4年8月記録局(同9月記録分局設置)といった段階を明示して論じた。5年10月の歴史課設置は、政府の様々な記録管理を掌る正院記録局内の分課構想が、正院の分課に落着し、内史・外史に記録局の各課が分課された結果だと位置づけた。成立した修史部局の記録管理を、東京大学史料編纂所所蔵「修史局・修史局史料」を用いて分析した。記録管理制度については、歴史課、修史局、修史館の段階別に解明し、記録局出身の官員らによって取扱事項の明文化などの整備が進められたことを指摘した。その上で制度に対応する記録管理の実態に迫り、「修史局・修史館史料」のうち往復文書、日記・官員履歴類、受付録、図書目録の簿冊について整理し、これらと別に史料編纂所が所蔵する簿冊との対応関係を示した。以上を踏まえ、当該期の政府の記録管理を捉えるには、修史部局やそれと同様の成立経緯・アーカイブズ的側面を持つ地誌・統計編纂事業の検討が不可欠である点を指摘した。This article analyzes records management of the Office of Historiography under the Dajō-kan during the Meiji period. The Office of Historiography, derived from the record administration department of the Dajō-kan, is an important example when considering the recognition and institutionalization of archives in that period because it has archival aspects such as collection and management of historical records or books in addition to the historical aspects, compiling history. While presenting the compilation of the Kiroku Henshū, we discussed the history of the establishment of the History Division by expressly giving the following three chronological orders and the corresponding name: the Kiroku henshū gakari in November of Meiji 1, as the Kiroku henshū kyoku in November of Meiji 3, and as the Kiroku kyoku in August of Meiji 4 (the branch of the Kiroku kyoku was established in September in the same year) We assumed that the subdivision concept within the Seiin Records department responsible for the various records management of the government was settled down by making it a subdivision of the Seiin. We then concluded that the establishment of the History Division of October of Meiji 5 was the result of the subdivision of each department of the recording office into Naishi and Gaishi. We analyzed the records management of the Office of Historiography by using the Shūshi-kyoku and Shūshi-kan Shiryō owned by the Historiographical Institute of the University of Tokyo. Regarding the record management system, we clarified stage by stage the History division, the Shūshi-kyoku, and the Shūshi-kan, and then pointed out that the officials from the bureau of records made preparations such as clarification of handling matters. In addition, we approached to the actual situation of the record management corresponding to the system. We organized books of round-trip documents, diary / official history, acceptance records, book bibliographies described in the Shūshi-kyoku and Shūshi-kan Shiryō, and then showed the correspondences with books separately owned by the Historiographical Institute of the University of Tokyo. Based on the above, we pointed out that consideration of chorography and or statistical compilation projects which have history of establishment and or archives aspects similar to the ones of the Office of Historiography are indispensable to understand record management of the government during that period.

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 (ISSN:03873447)

巻号頁・発行日

no.26, pp.1-28, 2000-03

著者

王 勇

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.24, pp.1-15, 2001-03-01

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The very interesting point is how Japanese were described in Chinese material and drawn in pictorial material. Waren (Japanese) in Zhigong Tu is said to be the oldest portrait of Japanese, but I would like to observe both literal and pictorial material focusing on the figure of members of kentôshi.It is well known in Japan that they had to be intellectual and handsome in order to become members of kentôshi. What kind of impression did they give to Chinese?First I would like to examine the member's image that Chinese had referring to description written in material about Awata no Mahito as handsome with dignity, Abe no Nakamaro as breathtaking handsome and Sakaibe no Okita as tall without much of hair. The meaning of "shintokukan (jindeguan)" that Awata no Mahito wore, the origin of the phrase of "breathtaking handsome" and the background of the phrase of "tall without much of hair" are especially considered.Secondary, I would like to take a look at Liben-tu in the tomb of Zhanghuai-Taizi, The Portrait of Jishi Zhangdan in Tokyo National Museum, Minghuang Huiqi-tu and the like. There are two theories; one is that the member on a mission drawn in Liben-tu is a man of Gaojuli. The other one is that he is a Japanese. I will guess which one referring to the literal material and presume the Japanese in The Portrait of Kishi-no Nagani drawn by Tang royal painters. A monk playing a game of go with Emperor Xuanzong in Minghuang Huiqi-tu should be examined with a Japanese monk, Benshô.Based on the literal and pictorial material listed above, I would like to consider the diplomatic significance that the figure of members to Tang gave in the ancient eastern Asia and emphasize the historical facts of the pictorial material.

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 (ISSN:03873447)

巻号頁・発行日

no.30, pp.23-52, 2004-02