National Institute of Japanese Literature Repository / 国文学研究資料館学術情報リポジトリ

    恩愛と異郷 ―うつほ物語の主題―

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    『うつほ物語』は俊蔭の波斯国漂流、異郷訪問譚で始まる。異郷への想像力が琴の物語の根底に働いていることは疑えない。本稿は、折口信夫の異郷論から出発した。琴の伝授と恩愛の惑いが物語のなかで繰り返される主題であり、未生の犬宮物語を前にした緊張のもとでもまた、恩愛の惑いを生む異郷が秘琴波斯風の音の起源たりえていることを明らかにした。 “Utsuhomonogatari”(うつほ物語)starts from Toshikage’s story of drifting in Hashi-koku(波斯国)and visiting foreign countries. It is evident that the imaginations to the foreign countries works at the hidden part of the story. This article started from Ikyoron(異郷論) of Origuchi Shinobu. The instruction in playing the Koto and the feeling perplexed of the family ties are the main theme repeatedly written in the story. It is clarified that also under the tension of unborn Inumiya monogatari the foreign country which produces such a feeling can be the origin of the sound of Hikin-hashifu(秘琴波斯風)

    詩人の夢見た理想郷 ―菊池教中の経世意識と『澹如詩稿』―

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    菊池教中(号・澹如。文政十一年〜文久二年〈一八二八〜一八六二〉)は呉服・金融業などを営んだ江戸の大店佐野屋の二代目当主で、父で先代の大橋淡雅の影響のもと文事に傾倒した。その代表的な成果は詩集「澹如詩稿』(刊本、六巻四冊、万延元年〈一八六○〉序)だが、文雅の世界の華やかさに彩られた本書において、世情不安などを詠んだ時局的な詩が時折登場することは見逃せない。収録詩の創作時期にあたる二十代半ばから三十代にかけての教中は、江戸店を維持しつつも宇都宮を根拠として新田開発を行い、同地で地主経営を展開するという経営戦略の大転換を図っていた。当時の教中は黒船来航などを契機として対外戦争の勃発を強く懸念しており、佐野屋一統の新田地帯への集団移住を構想するまでに至っている。この構想ではいわば一統による理想郷の建設を目指していた形跡が見られ、それと並行して教中は次第に領導意識を強め、自らを新田地域の領主のごとく自己規定していくようになる。その上で『澹如詩稿』を検討すると、その田園詩を範とした作風は郊外で自ら開墾作業を指揮する教中の実生活、そして教中が目指す新田の理想郷のイメージを反映したものであることが見えてくる。ここから、教中にとっての詩は自らの経世の展望を描き出し、さらに周囲の文人たちへと発信する上での重要な媒体であったと考えられる。Kikuchi Kyochu (1828-62) was a wealthy merchant in 19th century Japan, who owned and ran "Sanoya", a big store in Edo dealing in kimono fabrics and running a large-scale money changing business. In addition, he was heavily involved in literature and the arts, and authored an anthology of poetry titled Tanjoshiko, which includes about 300 poems. Some of those poems make references to the ongoing social unrest caused by Japan\u27s tense relations with foreign powers.In 1855, Kyochu started developing newly reclaimed rice fields in the suburbs of Utsunomiya. This project, motivated by Kyochu\u27s fear that foreign powers would attack Edo sooner or later, allowed his family to own and manage rice fields, and consequently consolidate its own economical base.Through this project, Kyochu ultimately aspired to create a utopian society ruled by families associated with "Sanoya". His poems suggest that he began to imagine himself as the feudal lord of his utopia, and his pastoral poems in particular show that his real life on the rice fields served as a basis for his utopian vision. For Kyochu, poetry was an important medium through which he formulated his political and economic ideals

    史料館報 第79号

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    〔メッセージ〕アーカイブについて考える史料館の研究と事業〔アーカイブズノート〕史料叢書第6巻『幕府奏者番と情報管理』の紹介九州大学デジタル・アーカイブの開発について実感的、アーカイブズ学のあゆみ「古沢家文書目録」を編成して〔平成14年度史料館研究事業総括〕〔史料館の動き〕史料館情報閲覧室活動報告ほか彙

    史料館報 第66号

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    『総覧』から『目録』へ特定研究「記録史料の情報資源化と史料管理学の体系化に関する研究」科研「歴史史料の材質劣化評価への科学発光の応用研究」ICA北京大会に参加して史料所在調査報告平成八年度新収史料紹介史料管理学研修会修了者一覧受贈図書彙

    史料館報 第61号

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    検地帳所持争論と近世村落―越後地方の事例紹介―雑感史料の修復について文部省科学研究費補助金による研究成果報告錦絵(彩色史料)の複製について越後国頸城郡岩手村佐藤家文書目録刊行を終えて受贈図書彙

    史料館報 第58号

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    構造分析と記録管理史研究史料館叢書別巻Ⅱ『江戸時代の紙幣』の刊行大名家文書に存在する村方騒動文書―『真田家文書目録』(その六)の刊行によせて―中埜半左衛門文書の整理を終えて―今の史料目録刊行と電算データの有効利用―第十二回国際文書館評議会(ICA)大会参加記史料管理学研修会検討会開催新収史料紹介受贈図書彙

    特集「境界と日本文学―ジャンルの交流―』 『風の又三郎』における<重ね書き> ―昭和15年日活映画の受容に着目して―

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    Miyazawa Kenji\u27s novel "Kaze no Matasaburo" is read and taught widely today, and has earned recognition as a classic depiction of youth. Less well known is the fact that the novel was not released before Miyazawa\u27s death, as he judged it unfinished, and only during wartime, years later, did the book finally gain acceptance. The success of the screen version of the novel released by Nikkatsu Productions in 1940 helped to spread the name of the hitherto little-known Miyazawa. Following his death in 1933, there had been signs that some people attempted to praise Miyazawa\u27s works, but it was concentrated on his poetry. In 1939, Hada Books published "Kaze no Matasaburo" as a children\u27s book, but it attracted little attention. Looking at the list of works for children (1941) in the National Publications Cultural Children\u27s Section, we see that, for instance, Tsubota Joji\u27s "Kaze no Naka no Kodomo" places 28th, while Miyazawa languishes at 190th. However, with the acceptance of the screen version, "Kaze no Matasaburo" received far more praise than the Tsubota work. The sensational movie was subsequently endorsed by the Department of Education, and a variety of recorded versions were marketed.An examination of the contemporary state of educational cinema confirms that the movie was played around the country. Thus, the Nikkatsu movie may be viewed as the starting point of the work\u27s acceptance. As for the screen adaptation of the written text, what one notices are statements relating to colonization, of rather, the "South Seas".In this paper, I hope to make clear that the movie "Kaze no Matasaburo", which was essentially "overlaid" onto the original text, won a favorable response largely by identifying with Japan\u27s wartime colonialism

    特集「境界と日本文学―ジャンルの交流―』 人文と科学 : 最後の境界を越えて

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    Science and art are often taken as complete opposites. Even further apart than two genres, they are two disciplines, and most academic institutions house them in separate locations-even in separate campuses. But I maintain the two are (and throughout history always have been) fundamentally entwined.Science itself is diverse. Studies into the nature and appearance of phenomena cannot but relate to the ways in which people then represent those phenomena in pictures. Clearer still is the case of the science of optics, which addresses the way in which we see, and provides instruments to improve vision.My talk will focus on optical science in the eighteenth century, and suggest some ways in which it relates to Edo period art, and also to Edo literature

    執筆者紹介

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    研究発表 人物画の世界 入宋僧の映像と真讃 ―旅行記『参天台五臺山記』を史料として―

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    In the mid Heian era, many Japanese monks sailed across the sea to Song. Of the monks, not small was the number of monks who died in Song without returning to their own country again. People in Song drew the monks\u27 portraits and wrote poems to glorify them because they respected the monks.San Tendai Godaisan-ki, the travels written by a monk Jôjin, who sailed to Song, proves it. The diary says not only about the portrait of Jakushô and poems for him, but also about ones of Gentô and Jôjin himself.Jôjin happened to know that there was the portrait of his superior, Jakushô in Pumen-yuan during his journey and paid a visit. Jakushô\u27s portrait was enshrined in the temple and it had the poem written by the former president, Fayin-Dashi on it, which moved Jôjin so much that he wrote down the poem in his diary.While Jôjin was staying at Chuanfa-yuan, the facility for translation of Sutra in the Song era, two pieces of his portrait were painted by Song painters. One was possessed by Zhao-Dashi and it is said that he admired it everyday. The other was sent to Japan, which Jôjin had left to the group of five apprentices to him when they returned to Japan after the pilgrimage to Tiantai-shan and Wutai-shan. The praising poem dedicated by Wenhui-Dashi was written on the picture as well.These pictures and poems are the precious and historic material not only to learn about Song dynasty but also to prove the cultural exchanges between Song and Japan. They should be focused in terms of the field of literature as well. In this report based on San Tendai Godaisan-ki, I would like to examine the relationships between the pictures and poems and the contents of the poems, emphasizing the ones of Jakushô and Jôjin. I also would like to touch on the birth of the Jôjin\u27s and its introduction
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