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

    研究発表 <氣候と信仰と持病と>から見る「皇民文学者」周金波研究の可能性

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    “Climate, Belief, and Chronic Illness” was first run in the Taiwan Jihou in January of 1943. It was the fifth work of Zhou Jin Bo (1920 -1996), known as a “Koumin Writer”, and, as opposed to his premier works “Suigan” and “Shiganhei”, with the theme of regressing from a belief in Shinto to the so-called “superstitions” of native Taiwanese beliefs shows a lightening in the degree of Japanization. As the “chronic illness” (pains down the leg) of the hero cannot overcome the rainy “climate” of northern Taiwan, neither did Japanese Shinto, which the hero hoped could heal his “chronic illness” through faith, overcome the culture and values behind ethnic Taiwanese beliefs. The frustrations of the hero are woven one by one into the ethnic Taiwanese practices of his wife, expressing brilliantly how the man\u27s emotions were wrenched in the space between Japan and Taiwan. Through examining “Climate, Belief, and Chronic Illness”, and, after, clearly illustrating the differences between Taiwanese and Japanese culture, I would like to attempt to look at the unreasonableness of the peoples of the old colonies having Japanese culture thrust upon them beyond merely the framework of “differences in culture”, as well as the change in Zhou Jin Bo’s writing style.This work looks not only at the clash of Taiwanese and Japanese culture, but also shows the limits of the criticism up to this point regarding Zhou Jin Bo as an author. That is, surprisingly, of the works of Zhou Jin Bo, living as someone denied by a singular ideology, only his first, “Suigan”, and second, “Shiganhei”, have been looked at, and, because of their themes, have become the base of his criticism. This is most likely because his development as an author, that being the changes in his powers of observation and state of mind, have been ignored. To press the matter further, researchers still are of the tendency of judging things based on a clear bi-polar method, where “resistors of the authorities are good, sympathizers are bad”. It is believed that contradictions in literary research come from this

    講演 女の声を盗む ―太宰治の女性告白体小説について―

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    The difference in sex between the author, the narrator, and the characters and their interconnection (the difference in sex of the reader could be included as well) is a fascinating topic, but one that is difficult to pursue. In an attempt to offer an approach this subject, this presentation will look at Dazai Osamu’s female monologue novels. Dazai, from the start of his creative career, devoted himself to meta-fiction and similar narrative styles, but from the 1930s to the 40s during the Asian-Pacific War, he focused on writing novels narrated by women. “Joseito” and the post-war work “Shayo” are supposed to be taking “quotes” from the already existing diaries of women, but these “quotes” are almost indistinguishable from “theft”. Rather than simply looking at similarities in expression as “theft”, I would like to focus on what kind of moral problems arise from a male author borrowing (stealing) the voice of a female narrator and the differences that arise due to differences in expression. The special period relevance and connectedness between the war and post-war periods, and if possible comparisons with Uno Chiyo and other female writers of narrative works at that time, will also be looked at

    研究発表 浄瑠璃における「富士浅間物」の展開 ―『莠伶人吾妻雛形』・『粟島譜嫁入雛形』を中心に―

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    This presentation, using an example of how Jôruri borrows from earlier works, examines the way in which the Noh “Fuji Takio” was rearranged an embelished as an Edo period drama.The wife of the performer Fuji, killed over and argument over dance by the performer Asama, pretends her late husband’s drum is her enemy and beats it to vent her rage in “Fuji Taiko”. This plot is transformed in to one of vengance (kataki uchi) in Edo drama.The so-called Fuji-Asama Mono include "Futaba Reijin Adzuma no Hinagata" (Kyoho 18, Toyotake-za) by Namiki Sôsuke and Namiki Jôsuke, "A washima Keizu Yomeiri Hinagata"( Kan\u27en 2, Takemoto-za) by Namiki Sôsuke, Takeda Izumo and Miyoshi Shôraku, and "Uchi Hyakuban Fuji Taiko"(Tenmei 3, Hizen-za) by Matsu Kanshi and Yoshida Kadomaru."Futaba Reijin Azuma no Hinagata" adds to the Fuji-Asama world the Gidayû "Yorobôshi"(Genroku 6), which recreates medieval stories from the Noh "Yorobôshi", the Sekkyô "Shintokumaru", etc. into a tale of rivalry. However," Futaba Reijin Azuma no Hinagata", and its rewritten version "A washima Keizu Yomeiri Hinagata", unlike the Gidayû "Yorobôshi" or even the Ukiyozôshi "Fuji Asama Susono no Sakura" by Ejima Kiseki, which had an influence on both works, are not presented as tales of rivalry. One feature of these two works is their portrayal of the tale of recovery from the story of Shintokumaru as a tale of fate. Sacrifice for the sake of recovery is painted as a necessity of fate, making the story into a pessimistic drama of destiny, a peculiarity of Namiki Sôsuke\u27s style.Also, in "Awashima Keizu Yomeiri Hinagata", it is revealed just before revenge is taken that Asama did not in fact kill Fuji. Not only is the technique used since Chikamatsu of transforming the traditional enemy character into one of good employed, but so is that of a secret being kept by the characters until the climax where it is revealed, a style often used by Sôsuke, both offering variants on the plot of seeking revenge.I would also like to consider the transformation of "Futaba Reijin Azuma no Hinagata" to "Awashima Keizu Yomeiri Hinagata" from the standpoints of za, tayû, etc.

    研究発表 語られない韓国――高浜虚子の小説『朝鮮』――

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    The one Takahama Kyoshi who knows as a haiku poet has begun to serialize in 1911 “Tokyo Nichinichi Newspapers” and “Osaka Mainichi Newspapers” is “Joseon”. The interest in the country to an area which has just consisted of merger of Japan and the Republic of Korea in a colony in time as 1 year seems in 1911, to have been also rising. Then entering Korea directly and based on experiencing, Kyoshi wrote “Joseon”. But 70 times of uehen ends, and serialization of “Osaka Mainichi Newspapers” will be suspension, and shitahen starts with only “Tokyo Nichinichi Newspapers”. Its separate volume is published in the next year, but the whole change is eliminated substantially big with the contents of newspaper serialization. And in the “complete series” issued by Kyoshi 100 year born commemoration, “Joseon,” it itself disappears.It’s the purpose of this paper to consider what kind of value does it have today, and how a novel called “Joseon” via the uproarious process like the above is placed in Japan short distance current literature. The thing corrected by “Joseon” much can find a factor from a change in the Korean look Kyoshi had then and a change in the posture to the genre as the novel. The Korea which has just become a colony was the place which can be reclaimed for Japanese and was also the place a life changes. But if that goes to Korea directly by an idea from a Japanese point of view, that may change. Kyoshi experienced that directly. Such circumstances seemed to have influenced like the contents, but formally, I also had the one as the experiment of “sketch” Kyoshi tried to try. The feeling that I’d like to make a sketch achieved seems a try to the sketch which has started from Masaoka Shiki was the process connecting with Kyoshi, and excited about a novel. Kyoshi may be able to feel a place as the Korea which attracted attention from people, too attractively as its suitable material.But the Korea Kyoshi experienced while traveling directly was different from the Korea which was thinking vaguely in Japan and was the one which is to the extent it can also be said that the form of the Japanese who lives is rather cruel, there. It’s possible to peep into however different whether the Korea which was thinking in Japan and the Korea experienced directly be through “Joseon”. But the look from the Korean who took the country where he lives there away in a moment is very little in Kyoshi’s “Joseon”. It tried to enrich in a sketching novel, not a political drama, “While being seen.” “Joseon” was so going to draw Korea of “truth”, and then was the result “Joseon” wasn’t told about any more

    研究発表 中里介山「大菩薩峠」の文――改稿による地の文の変化を手がかりに――

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    It is widely known that Daibosatsu-toge, which is considered as an origin of popular modern Japanese literature, was written in a familiar ‘desu, masu’ style. However, descriptive texts were written not only in distal style but also in direct style, and both of past and present tense were mixed in this work. In addition, a style ending sentences with a noun (or noun phrase) was used as well. This presentation aims to analyze a formation process and features of various sentence styles in Daibosatsu-toge. Also, I would like to discuss its meaning by comparing style in this novel with a modern novel’s narrative strategy, which is said to have completed its style by using ‘da, de aru’ in the end of the sentences.First of all, this presentation will focus on drastic changes from first publishing of Daibosatsu-toge in Miyako-Shinbun to rewritten version which had been published as a form of book since February 1918, and analyze patterns of changes in descriptive texts until its style was stabilized (manuscripts appeared serially by 1921.10.17, which are correspond to by vol.21 ‘Umonsankyu-no-maki’ in a book form), in other words, until Kaizan didn’t make a revision on the end of sentences.Sentences in the first period(Sep 1913~Jul 1915)that did not have periods (。) in the end had been put in order by using periods when they were rewritten. And in this process, many sentences have been corrected into the form ending with a noun or noun phrase. Also, it must be noted that there are a lot of delicate corrections in the end of sentences concerning the past/present tenses and distal/direct style all over the texts that originally appeared in Miyako-Shinbun, even though there was no change in the meaning of the contents.Through analyzing what meaning and effect this changes in the form of the sentences have, this presentation is going to clarify that Kaizan was well aware of ‘modern novel’ and remeasured the distance between a narrator and characters as well as between a narrator and readers when making revisions on manuscripts, which I assume is connected to the effort trying to maintain dialogicality and polyphony in his style

    伊勢物語のかがやき――鉄心斎文庫の世界―― 第2章 描く

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    例えば、思いのたけを和歌に託す登場人物や、主人公が旅する見たこともない遠い場所。『伊勢物語』の読者はどれほど興味をかきたてられたことだろうか。十一世紀初めに成立した『源氏物語』に伊勢物語絵巻の記述があり、『伊勢物語』は成立後まもなく絵画化され鑑賞されたと考えられる。しかし現存最古の遺品は鎌倉時代のもので、墨の繊細な線描を生かした白描絵巻断簡や、濃彩で描かれた装飾的な絵巻が伝わる。続く室町時代から桃山時代にかけては、場面選択や構図が共通する二つの系統の伊勢物語絵などが知られる。そして慶長十三年(一六〇八)、四十九図の絵入り豪華本「嵯峨本伊勢物語」が初めて出版という形で世に出た。以後、伊勢物語絵の享受層が大きく広がり、嵯峨本を踏襲した絵が大半を占めるようになってゆく。また、江戸時代には、俵屋宗達、尾形光琳ら琳派の絵師たちも、おおらかで気品ある伊勢物語絵の作品を多く制作した。第2章 描く・伊勢物語の絵画・資料解

    史料館所蔵史料目録 第49集 越後国・佐藤家(その二)

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    口絵凡例越後国頸城郡岩手村佐藤家文書目録(その二)越後国頸城郡岩手村佐藤家文書目録(その二)解

    史料館所蔵史料目録 第60集 越後国・佐藤家(その四)

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    凡例越後国頸城郡岩手村佐藤家文書目録(その四)解題越後国頸城郡岩手村佐藤家文書目録・総合目次(その一~その四)越後国頸城郡岩手村佐藤家文書目録(その四

    山鹿素行と『易』

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    山鹿素行は、多くの先行研究において、形而上学的言説を批判し、日常重視を主張した思想家とされている。だが、それにより、彼の『易』をめぐる議論が閑却されることが多い。そこで、素行の『易』の論を見てみると、『河図』『洛書』は重視するが、『先天図』『後天図』の方はほとんど取り上げないという特徴がある。それに対し『河図』『洛書』はそれぞれ単一の図で複数の数を表していることから、素行は高い評価を与えている。つまり、素行にとって『易』とは唯一の体系を持ったものなのである。そして、それが「天地」の一なるあり方に対応しているという。素行が『易』の理解を通じて批判しようとしていたのは、人の目から見えることだけから考えることで、「天地」を段階的なものとして捉えることである。ただし、一挙に全体としての「天地」を捉えることを主張しているのではない。あくまで、人に認識できる範囲は限定的であることを自覚し、限定的・個別的に過ぎない、個人の認識を普遍的であるかのように捉えることを批判しているのである。次に、素行が「全体」について述べているものを見てみると、素行は「言語」が「全体」に反するものと見ていることがわかる。「全体」に反する「言語文字」のないところから作られているからこそ、素行にとって『易』には価値がある。Previous research into Yamaga Sokō (1622-1685) has tended to depict him as being a practical philosopher interested in everyday life, adverse to more abstract strains of metaphysical speculation. Consequently, his work on the Yijing (J: Ekikyō, the book of changes) has not received much attention. A perusal of his writings in this area reveal, most characteristically, that he is not at all interested in the two canonical diagrams which purport to depict the arrangement of the eight trigrams in their nascent state (Ch: xiantiantu; J: sentenzu) and in their later state (Ch: houtiantu; J: kōtenzu). What he is interested in are the two diagrams known as the Yellow River Chart (Ch: hetu; J: kato) and the Luo River Square (Ch: luoshu; J: rakusho). Each of these two diagrams represents within itself a series of numbers, a complexity which Sokō finds attractive. According to Sokō, the Book of Changes represents a grand and unifying system-a system which, he claims, corresponds accurately to the unified structure of heaven and earth, that is, the cosmos. Based on his understanding of the Book of Changes, Sokō criticizes those philosophers who, first, speculate exclusively on purely sensible phenomenon, and second, view the cosmos as a processional (as opposed to an eternally complete) phenomenon. However, despite this second criticism, Sokō does not demand of his readers that they should attempt to consider the cosmos as a single unified whole. The human intellect has its limits. Of this he was well aware. Sokō criticizes those who would erroneously find within the human intellect-fundamentally limited and individual as he recognized it to be- a supernatural faculty capable of perceiving the cosmos on a universal scale. Moreover, Sokō argues that the nature of human language is inherently opposed to grasping the whole (of the cosmos) in itself. It is just because the Book of Changes is founded not upon language but upon diagrams and numbers that he finds it so full of potential
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