中里介山作・石井鶴三画「大菩薩峠」と「挿絵事件」の背景 : 挿絵制作の時代的転換と旧著作権法の解釈について

Article信州大学附属図書館研究. 7 : 29-47(2018)departmental bulletin pape

白井喬二と「大衆文学」形成期 : 石井鶴三宛中里介山書簡の位置

Article信州大学附属図書館研究. 5: 45-58(2016)departmental bulletin pape

大正末における石井鶴三と中里介山の関わり : 雑誌『婦人之友』と「小野の小町」挿絵をめぐって

Article信州大学附属図書館研究. 2: 23-35 (2013)departmental bulletin pape

〔新出〕石井鶴三宛中里介山書簡四十通翻印と註釈 : 『大菩薩峠』関連書簡を中心に

Article信州大学附属図書館研究. S: 1-80(2017)departmental bulletin pape

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――

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

新聞小説と挿絵に関する問題系 : 「大菩薩峠」をめぐる石井鶴三宛中里介山書翰から

Article信州大学附属図書館研究. S: 81-88(2017)departmental bulletin pape

伊勢路と紀伊路 : 熊野古道から昔のことを考えよう

熊野詣のルートは、いくつか存在する。よく知られているのは、京都・大阪方面から、紀伊路・大辺路・中辺路を経て那智に至るコース、そして三重県側では伊勢路と呼ばれる古道がはやくから拓けていた。今回の講演では、道中記や名所図会を手がかりに伊勢路の行程について総括するとともに、和歌山側のルートについても言及する。和歌山県については、王子とその保存に命をかけた南方熊楠についてもふれる。In the Edo period, a pilgrimage to Kumano Sanzan became popular and many people visited Kumano. Kumana kodo is the roads leading to Kumano Sanzan (three major shrines, Kumano Hongu Taisha, Kumano Hayatam Taisha and Kumano Nach Taisha) in Wakayama Prefecture.Kumana kodo has several routes, for example Nakahechi, Ohhechi, Iseji and so on. Some people walked to Kumano through Nakahechi others go there Iseji after visiting the Grand Shrines of Ise.In this paper, I introduce some travelers to Kumano Sanzan and their trips and analyze the belief in Kumano in the Edo period