著者
堀田 敬介
出版者
文教大学
雑誌
情報研究 = Information and Communication Studies (ISSN:03893367)
巻号頁・発行日
vol.44, pp.59-73, 2011-01-01

When assignment is determined only at a student’s hope for class assignment problem, it will be an accidental result if a solution has flexibility. Then, by adjusting the cost with the academic result, those who are excellent in results are assigned to the class which they wish more easily than those who are not. However, since a not suitable result is obtained by the bad adjustment of the cost, I make the comparative analysis of what kind of adjustment is good, and propose the way in which the preferential treatment goes well.
著者
Robert Jean-Noël
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.26, pp.1-15, 2003-03-01

When it comes to the important question of religion and language in Buddhism, the importance of the Japanese language is wont to be underestimated. By comparison with medieval Chinese or Tibetan, Japanese obviously cannot boast of the same feats in translating the Buddhist Scriptures. Even in the case of Mongolian or Manchu, that former scholars tended to neglect, both these languages produced translations of the Buddhist Canon (albeit a partial one for the latter), which are to be taken, although they are secondary translations, as a landmark in the cultural history of East Asia.Japanese is prima facie different; there was no organized translations of the Canon in that language before modern times, and, in that respect, it would be closer to the situation of Siam or Cambodia. But there was indeed a field in which Japanese monk-scholars engaged in an enterprise that could be deemed akin to the achievements of their Tibetan counterparts, and that was the Japanese poetry (waka) on Buddhist themes, that I will here cover by the general term of “exegetical” poetry or shakkyou kaei.We may for our purpose propose here a broad division of those poems in two, namely those that make use of Chinese Buddhist vocabulary tel quel, and those that endeavor to rely exclusively on ‘pure’ Japanese poetical language.Taking the example of two corpuses of Buddhist waka poems on the theme of the Lotus Sutra by Jien and Sonen, I will consider three points:a) How the scholastic and religious vocabulary of Buddhism has been translated in original Japanese idioms.b) How the poetical expression of the Lotus tenets enhanced and developed the doctrinal interpretation.c) In what way this interpretation or exegesis fits into a precise pattern of religious practice. I hope, through these points, to make a step towards assessing this poetical genre as a full-fledged category of religious literature.
著者
土屋 貴裕
雑誌
美術研究 = The bijutsu kenkyu : the journal of art studies
巻号頁・発行日
no.399, pp.1-36, 2010-01-07

The Tesshinsai Bunko Ise Monogatari Bunkakan in Odawara city, Kanagawa prefecture, is well known for its collections regarding The Tales of Ise. The single-volume The Tales of Ise Album (hereafter referred to as Tesshinsai version) is one of these works. It is thought that the paintings in the album were created by Tosa Mitsunobu and the text passages were brushed by Konoe Nobutada, as indicated by the inscription on the inside of the storage box lid. Not much attention has been accorded to the Tesshinsai version, and there have been no thorough studies of the work. This article is an introduction to the Tesshinsai version and presents observations that will hopefully advance an understanding of its position with the history of art. First, the article provides an overview of the work. It then goes on to evaluate the attributions to Tosa Mitsunobu and Konoe Nobutada. Similarities can be noted between the Tesshinsai version paintings and the group of works known to have been painted by Tosa Mitsunobu. However, there are also pages within the album that are extremely close to works by Tosa Mitsumochi, Mitsunobu's son, and the workshop of Mitsumochi, such as the Taimadera Engi Emaki and the Kuwanomidera Engi Emaki. Further, in terms of the text passages, the Tesshinsai version has gold and silver painted decoration rather than gold leaf decoration on its the text papers, and thus the paper used in the painting is thought to date from around the Momoyama period. The calligraphy appears to have characteristics typical of Konoe Nobutada, as found in works such as the Screens of Assorted Poems from the Tale of Genji in the Yômei Bunko collection. Thus the author concluded that it is highly likely that thecalligraphy is in fact that of Nobutada. Next, a comparison was made of scenes presented in various versions of The Tales of Ise paintings created up until the Momoyama period and the works in the Tesshinsai version, as a confirmation of their positioning within specific lineages of such works. As a result, the Tesshinsai version is seen to bear an extremely close relationship with the Chester Beatty Library version and the Suntory Museum of Art version. These two versions bear a close affiliation to the so-called Sagabon version that is considered to be the model for many Edo period examples. To be more specific, the Tesshinsai version appears to be the oldest copy version in this Sagabon lineage. This means that the Tesshinsai version must play a major role in future research on The Tales of Ise paintings. Given this chronology, the Tesshinsai version influenced many Tales of Ise paintings. Also, because it is considered that this work was painted by the Tosa Mitsumochi workshop, the Tesshinsai version stands as important material for the future study of the Tosa school. Finally, the Tesshinsai version was compared to the two Tales of Ise paintings created by Sumiyoshi Jokei, a painter who inherited and continued the Tosa school tradition. The comparison indicates that undoubtedly Jokei referred to the Tesshinsai version in the creation of his works. This connection also indicates the importance of the Tesshinsai version in the consideration of such issues as handing on models and copy works, and the development of Yamato-e iconography during the pre-modern period.