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.

著者

西本 香子

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

vol.12, pp.115-118, 2012

著者

橋本 ゆかり

出版者

物語研究会

雑誌

物語研究 = The journal of the Monogatari Kenkyukai (ISSN:13481622)

巻号頁・発行日

no.17, pp.101-119, 2017-03

著者

塩見 優

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

vol.12, pp.1-11, 2012-03-31 (Released:2018-03-27)

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An important role is played by rumors when discussing the near death of Murasaki no Ue. When Murasaki's death passes through the medium of rumors, it becomes both realistic and fictional. The point of view of Murasaki's life and death changes as it is layered through Hikaru Genji, rumors, and Murasaki herself. However, it is not the complexity of the point of view that is important, but the narrative's depiction of the ambiguity of life and death. By depicting the ambiguity of life and death through Murasaki, the narrative asks the reader: What is "life"? What is "death"? This issue is continued in the ten Uji chapters. Focusing on death opens up further possibilities for considering Genji monogatari.

著者

助川 幸逸郎

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.54-70, 2014-03-31 (Released:2018-03-27)

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Shinobu Orikuchi, aka Choku Shaku, famous as a unique poet, was regarded as one of the sympathizers of the Araragi school. This influential school expressed that their own ideal is the poets in the Manyoshu and declared that poems should be written from their unvarnished feelings, derived from their real lives. Orikuchi, however, pointed out that a large number of poems in the Manyoshu were misunderstood to have been based on composers' real lives, implying that these phrases were actually cliches adopted from folk songs and oral works. In the same way, he pointed out those ardent expressions in women verses composed in the Nara and Heian era were stereotypes in Utagaki, which were meetings with the intention of finding a sexual partner. He was unwilling to accept passionate words in poetical works as the faithful reflection of author's feelings in their mind. What were the reasons behind such an attitude? In this paper, I find the reasons for this in the poetical conditions peculiar to modern Japan.

著者

藤井 貞和

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.39-53, 2013-03-31 (Released:2018-03-27)

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Narrative conversations (utagatari) related to songs performed in the ninth century are the foundation of Ise monogatari (The Tales of Ise). I examine grammatical "functional words" based on the "emptiness versus fruitfulness" annual theme of Monoken.

著者

李 芝善

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.94-105, 2008-03-31 (Released:2018-03-27)

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There are three kinds of translation of "The Tale of Genji" in Korea. Among those, the Yu Jung translation in "The complete series of world literature" published in 1975 has been assumed as the first translation until now However, I have clarified in this report that the first version of Korean translation was in 1973 in "A perfect collection of world classiccal literature." Then, mainly taking the examples of the "Yugao" chapter, I considered an ideal method of translation of classical literature works while comparing characteristics of Yu Jeong translation with Akiko Yosano translatioon. I pointed out that Yu Jeong translation overused old expressions and vocabularies and replaced 31-syllable Japanese poems with songs peculiar the race and used a Korean dialect. Therefore they make Yu Jeong translation of "The Tale of Genji" quite original..

著者

勝亦 志織

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.1-13, 2011

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What on earth do you think being invisible on stage is like? In this thesis, writer is going to discuss a theatrical work titled "Takarazuka Revue Company Moon Troup Performance "The Floating Bride of Dreams", from two view points such as issues incurred by putting a work of classic literature on stage and how the dramatized work was accepted and appreciated. Dramatization of the Tale of Genji has particularly been enjoying a longer history than so many other works of classic literature and is with variety of facets. "The Floating Bridge of Dreams" picked up here is a piece of work based on the Ten Uji chapters of the Tale of Genji and has Niou no Miya as the leading actress. Needless to say, this particular play was caught up under the restriction given by the "Takarazuka Revue". This thesis employed the first princess of the fourth Emperor who plays an important role both in the story and in the play, with a view to discuss significance of invisibility on the stage, in the light of characteristic features of the "Takarazuka Revue". Thus, the writer discussed the matter of putting the work of classic literature on the stage and proceeded to cover the issue of imaging, having been developed from dramatization.

著者

黄 子蘋

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.145-165, 2009-03-31 (Released:2018-03-27)

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This is a study on various apparatuses of learning that function in the novel, Takekurabe. Those apparatuses include Fudeya (a stationery shop), Yoshiwara (a licensed prostitution area), the space called Daionji Area, as well as regular institutional schools. Each in its own way, they invite children to the worlds of adults, raise them as social beings, or function as apparatuses that involve them in the institutions of modern nation state. The learning in all those places is achieved by acquiring the particular language used in each of them. This paper focuses. especially on the space called Fudeya, which is presented in contrast with regular schools In the ending of the novel, the loss of Fudeya strikes readers as an unhappy event because it deprives children of a precious place for learning by playing, which means that they are left under the sole authority of institutionalized schools.

著者

高木 信

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.71-91, 2014-03-31 (Released:2018-03-27)

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Kozaisyo didn't write an answer to Michimori's love letter, and Nyoin who is her master commented to her that she was too strong-minded, and thus her attitude reminded people of Ono- no-Komachi. It was said that as a result of having rejected the masculine, Komachi had lived a pitiful in her old age in the Japanese tales of the Middle Ages (11c-16c). Or they said Komachi who had been a harlot was a reincarnation of the Kannon Bodhisattva, and in these tales, she had been portrayed as a sort of messiah. However, their logic is that of a masculine community where woman has been put to silence. Kozaisyo and Ono-no-Komachi have been shunted into this masculine logic. Kozaisyo was accounted as a faithful woman in the Heike-Monogatari, because of having thrown herself into the sea after Michimori's death, but in the common sense of the Middle Ages it was thought that a pregnant woman who killed herself would have gone to hell. We can see the possibility that Kozaisyo may have gotten a spell of relief from the masculine community, if we can connect her to Ono-no-komachi who had become the Kannon.

著者

クルボノヴァ グルノザ

出版者

物語研究会

雑誌

物語研究 = The journal of the Monogatari Kenkyukai (ISSN:13481622)

巻号頁・発行日

no.18, pp.191-175, 2018-03

著者

有元 伸子

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

no.14, pp.28-42, 2014-03-31

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This essay looked into Sotoba Komachi, one of the "Modern Noh Plays" adapted by Yukio Mishima, by using Judith Butler's theory of gender performativity. Mishima viewed Noh as verse drama in which a script itself serves as a dramatic performance with a life of its own, and came to introduce playwriting techniques to his writing of original works. This essay understands his scripts as a play about a journey to acquiring male gender identity through the speech-act, while also pointing out that Mishima's theatrical world reveals the theoretical nature of gender and instability of norms.

著者

本橋 裕美

出版者

物語研究会

雑誌

物語研究 = The journal of the Monogatari Kenkyukai (ISSN:13481622)

巻号頁・発行日

no.16, pp.278-270, 2016-03

著者

水野 雄太

出版者

物語研究会

雑誌

物語研究 = The journal of the Monogatari Kenkyukai (ISSN:13481622)

巻号頁・発行日

no.16, pp.41-54, 2016-03

著者

助川 幸逸郎

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

no.10, pp.18-34, 2010-03-31

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In 1985 Murakami Ryu published a book entitled The Spleen of a Man Called Tennis Boy depicting the shift in Japanese society when a large number of people began to regard themselves as middle class and lead luxurious life. This change was related to the decline of the USA manufacturing industry. The author provides a substantial amount of false information on popular brand names that appear in this text due to lack of exposure to such goods and knowledge of their proper use. As such he comes to represent the typical "new middle-class Japanese" because few people were accustomed to such merchandises in the mid-80s. In this paper, I discuss the changes within Japanese society in 1980s and reflect on the significance that year 1983 had for the history of modern Japan. By doing so, I hope to cast light on the new path that Japanese society may embark on in the 2010s.

著者

津島 知明

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

no.13, pp.54-65, 2013-03-31

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In Makura no soshi, Sei Shonagon describes her close companionship with Fujiwara no Yukinari. However, there is nothing to support this in Yukinari's diary, Gonki. This gap between the two texts has hitherto only resulted in dishonoring Makura no soshi when limited to the dualism of "fact or fiction." This paper verifies in detail the validity of the information given in Gonki for interpreting Makura no soshi.

著者

橋本 ゆかり

出版者

物語研究会

雑誌

物語研究 (ISSN:13481622)

巻号頁・発行日

vol.5, pp.158-163, 2005

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

no.9, pp.12-19, 2009-03

著者

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

no.8, pp.85-93, 2008-03