80 research outputs found

    日本後紀の復元的研究

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    金沢大学教養部研究課題/領域番号60710206, 研究期間(年度):1985出典:研究課題「日本後紀の復元的研究」課題番号60710206(KAKEN:科学研究費助成事業データベース(国立情報学研究所)) (https://kaken.nii.ac.jp/ja/grant/KAKENHI-PROJECT-60710206/)を加工して作

    Gyobusho-Bunin : Before the 3rd Year of Ninna

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    【史料紹介】大阪北の新地舞踊関係史料―佐藤家所蔵 佐藤駒次郎宛書信(下)―

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     本稿は、北の新地で行われた春の踊や温習会に関わる、大正期から昭和初期の書信を紹介するものである。全て北の新地の経営者であった佐藤駒次郎が受信したものであり、大阪大空襲で湮滅したと考えられてきた大阪花街の史料として希少価値を持つだけでなく、築地小劇場、花柳舞踊研究会、新舞踊運動など全国規模で展開された文化・芸術活動と花街の関りを伝えるものとしても貴重である。演劇・舞踊・文学・美術・音楽などの文化と、社会との関係を考えるための史料として、広く公開したい。紙数の関係から二回に分載し、本稿(下)では、北陽浪花踊と直接関係しない発信者の書信を翻刻・紹介する

    Changes in Osaka Kagai in the Late Meiji Era and the Start of Competitive Performances of "Haru-no-Odori"

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    江戸時代に起源をもつ大阪花街は,曾根崎新地(北新地),南地,新町,堀江の四地域を中心とし, それぞれ特色を持つ花街として存在していた。 しかし, それらの沿革や芸能史上の特色を追究した研究は少ない。本稿では, 明治期の史料をもとに各花街の概況を分析した上, 北区大火 (1909) 並びに南区大火(1912)によって, 北新地および南地にどのような変化が生じたか, 新聞記事を用いて跡付けた。 続いて「大阪春の踊」 (1920) の興行成績を分析して北新地・南地の優位性を指摘し, それが明治末年の花街改革の結果であろうと論じた。さらに本稿では, 北新地が伝統芸能を媒介として社会に開かれた空間となったのも 明治末年の花街改革以降であろうと推測した。Osaka Kagai originated in the Edo period. It included four areas: Sonezakishinchi (Kita-no-shinchi), Nanchi, Shinmachi, and Horie. Each area had different characteristics. A few studies have investigated their past and characteristics in the history of entertainment. This study analyzed the general situation of each Kagai, based on historical documents of the Meiji period. Moreover, changes in Kita-no-shinchi and Nanchi caused by the Great Fire of Kita-ku ( 1909) and the Great Fire of Minami-ku ( 1912) were examined using newspaper articles. Subsequently, box-office records of "Osaka Haru-no-Odort\u27 were analyzed, which indicated the superiority of Kita-no-shinchi and Nanchi indicated. It is considered that this superiority resulted from reform of Kagai carried out in the end of the Meiji period. Furthermore, after the Kagai reform at the end of Meiji period, Kita-no-shinchi supposedly became an open space to society, mediated by traditional performing arts

    【史料紹介】大阪府認可 大和屋技芸学校稽古表

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    本稿は、阪口祐三郎(一八八四~一九六一)が残した「大和屋技芸学校」の稽古帳を翻刻・紹介するものである。祐三郎は大阪市南区(現中央区)の芸妓扱店(置屋)大和屋の経営者であったが、明治四三年(一九一〇)、妻のきみと共に五年制の「大和屋芸妓養成所」を設立し、武原はん他の優れた芸妓を育てた。大和屋が属した大阪南地五花街では、すでに明治三〇年に芸妓の技能試験を始めていたが、祐三郎の企画は花街の近代化を一層推進するものであった。 「大和屋技芸学校」は大阪府の認可を受け、戦前の衣鉢を継いで昭和二五年(一九五〇)から生徒を募集した。この「稽古帳」は戦後の芸妓教育の実情を示すだけでなく、戦前期「大和屋芸妓養成所」のそれを髣髴させるが、芸妓教育のカリキュラムとして他に類を見ない貴重な史料である。現所蔵者・阪口純久氏(祐三郎長女)の許可を得て、ここに公開する

    戦前期大阪花街における地歌舞伝承と芸妓の動向 ―南地大和屋の史料と北陽 佐藤くにの言説を中心に―

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    This paper is a study of the Nanchi-Yamatoya family and Kuni Sato\u27s family, who influenced the performances given at Osaka kagai, as well as the organic development of jiuta and jiutamai from the end of the Meiji era to the early Shyowa era, and is based on surveys of historical materials and interviews. The following inferences is considered from the above mentioned result. Based on this investigation, it can be seen that, from the beginning of the Taisho era, the names of jiutamai choreographers did not appear in the leaflets of the haru-no-odori of the kagai of Osaka except Nanchi. However, geiko kept training jiuta and jiutamai. It was confirmed that jiuta and jiutamai were taught as basic elements of art at the Naichi-Yamatoya Geiko Training Center. In addition, Han Takehara, Chiho Hida, and En Kanzaki, make the performance of jiutamai spread in Tokyo, and became well-known. Kuni Sato, also went to Tokyo to teach jiutamai. In addition, the performances of kamigatamai-taikai was maintained by the relationship of Yoshitaro Nanki and Komajiro Sato. In 1937, the name of the jiuta player Kotoji Kikuhara appeared in the leaflet of hokuyo-naniwa-odori. It seemed that jiuta has returned to the haru-no-odori performed in kagai. Unfortunately, the performance of haru-no-odori was interrupted by the war between Japan and China. The following inferences is considered from the above mentioned result. Geiko at Osaka kagais was taking various dances with customer\u27s demand and their own quest. They also made an effort for practice of jiuta and jiutamai which originated in Osaka. The posture of such geiko projected her sentiment as well as dignity as an entertainer

    大阪花街・北新地と舞台美術家:田中良ー佐藤家史料をもとにー

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    佐藤家史料には, 北陽演舞場で上演された舞踊の舞台下絵が含まれ, その多くは田中良(1884-1974)の制作である。 また少数ではあるが. 田中が佐藤駒次郎へ送った書信も残っている。 北新地(北陽)の経営者にとって田中は, 市村座や花柳舞踊研究会と並ぶ, ネットワ ー クの一員であった。書簡や下絵からは. 田中が佐藤と出会し\北新地で彼の思い描く舞台美術を. 次第 に実現していく様子が伺われる。 芸妓たちの芸の上達を見守り, 藤蔭会や花柳舞踊研究会などで 発表した新舞踊作品を,北禍浪花踊他で上演するなかで, 北新地は彼が志向する舞台美術実現の 場となっていった。 むろん北新地が求めたものは, 観客が求める舞踊の文化水準向上だけではなく, 興行的成功があったことは想像に難くない。 方田中自身は. 己の芸術を高みへと導くため には, 上演のための経済的背景は不可欠ではあるが. 一度でも多く上演機会を得たいと求めたも のと考えられる。 経営者と芸術家の考えは, 出発点にずれがあったとしても, 双方が芸術への情熱を保ち統ければ, 良好な関係が深まっていく場合がある。 北新地と田中の関係は, まさにそう いった関係の軌跡を描いたように考えられる。 このような関係が保持されていたからこそ, 北新 地では人間の意識や心理を描く複雑な作品も上演可能となり, 田中が志向する舞台美術を実現することが出来た。本稿では, 限られた史料を基に考察した結果ではあるが, 田中と北新地はある 時期, 佐藤駒 次郎を媒介として, 志を同じくする美の探求者たり得たことを論じた。The Sato family\u27s historical materials include stage drawings of the Japanese traditional dance perfonned at the Hokuyoenbujo. Many of these drawings were produced by Ryo Tanaka (1884-1974). Among these materials, there are a few letters that Tanaka sent to Komajiro Sato. Tanaka was a member of the network of managers of Kita-no-shinchi(Hokuyo), along with Ichimuraza and the Hanayagibuyokenkyuukai. From the letters and drawings, we found how Tanaka met Sato and continued to create stage art that he envisioned, which was gradually seen in Hokuyo. As he watched the progress of geikos dance, he has performances of the new dance work at Hokuyo presented at the Hanayagibuyokenkyukai and Fujikagekai. Hokuyo became a place to showcase his stage art. Of course, Hokuyo sought not only an improvement in the cultural standard of the dance that the audience wanted but also box office success. On the other hand, Tanaka realized that to take his art to new heights, it was indispensable to obtain sufficient financing for the performances, and he expected many opportunities for good perfonnance. Although there has been a shift in the starting point of both sides of thoughts, if they continue to maintain their orientations, their relationship may deepen. The relationship between Hokuyo and Tanaka seems to have shown traces of a deeper bond. This kind of relationship was retained, so that at Hokuyo, it was possible to perfonn works which he desired, related to complex subjects such as human consciousness and psychology. Although this paper is based on a limited amount of historical materials, we discussed the fact that Tanaka and Hokuyo were explorers of beauty with the same intention, and Komajiro Sato acted as a mediator for a while

    Pulse number control of electrical resistance for multi-level storage based on phase change

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    金沢大学大学院医学系研究科量子医療技術学Phase change nonvolatile memory devices composed of SeSbTe chalcogenide semiconductor thin film were fabricated. The resistivity of the SeSbTe system was investigated to apply to multi-level data storage. The chalcogenide semiconductor acts as a programmable resistor that has a large dynamic range. The resistance of the chalcogenide semiconductor can be set to intermediate resistances between the amorphous and crystalline states using electric pulses of a specified power, and it can be controlled by repetition of the electric pulses. The size of the memory cell used in this work is 200 nm thick with a contact area of 1 µm diameter. The resistance of the chalcogenide semiconductor gradually varies from 41 kΩ to 840 Ω within octal steps. The resistance of the chalcogenide semiconductor decreases with increasing number of applied pulses. The step-down characteristic of the resistance can be explained as the crystalline region of the active phase change region increases with increasing number of applied pulses. The extent of crystallization was also estimated by the overall resistivity of the active region of the memory cell
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