Kano Naoki and His Study on Chinese Traditional Drama

Kano Naoki is one of the earliest scholars who study on Chinese traditional drama in the modern time of Japan. He is always regarded as a “pioneer” by his students. The previous researches mostly focus on his contribution of historical material’s finding and textual research, but fail to put him back into the original historical background and compare with other scholars that time. Thus Kano’s historical significance and limitation on Chinese drama study is not well demonstrated. This paper, through historically vertical and horizontal comparison, explores Kano Naoki’s significance of Kanbunsodoku of drama script’s reading in the modern Japan, and points out that his narration of the history of Chinese traditional drama, because of the lack of comprehensive vision, turns out to be without “drama” in it. Besides, because of his shallow knowledge of Chinesetraditional drama, his study succeeds in finding while fails in exploring.東アジアの思想と構

洛夫、余光中與鄭愁予現代詩中的古典意識（1972-1983）

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經學觀點下的南北書派論

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清風不禁《桃花扇》

[[abstract]]《桃花扇》背景是清軍渡江前夕，學界歸諸其未遭禁的原因，在於孔尚任與康熙關係良好。認為孔氏因該劇遭罷官，但無文字獄，決策出自內廷。本文核對〈清史稿‧部院大臣年表〉與《重修興化縣志》發現，孔氏〈桃花扇本末〉提及在京城排演《桃花扇》並邀眾朝臣觀賞的「李木庵總憲」──李柟，當時仍是「戶部右侍郎」，兩個月後甫升「總憲」（左都御史），此資料長期受忽視。孔氏作品透露，他在《桃花扇》醞釀期間曾奉派揚州、興化一帶治河，結識李柟故鄉興化李氏族人。資料顯示，李柟六世祖為明宰輔李春芳，鼎革之際，族親不乏身殉者，如，李柟叔祖「李長倩」，有終身不仕清者，如，李柟父親「李清」、伯叔父「李沂」「李淦」。又如，李柟叔祖「李長科」《李小有詩紀》收錄思念亡明作品，長期失傳，晚近始隨清朝禁燬書籍重新問世。曾經，從「明遺民」角度研究此家族，議題敏感，1996年始見鄧長風〈晚明戲曲家李長祚與興化李氏遺民群〉，2006年郭馨馨加以增補。鑑於李柟仕清，不符遺民主旨，鄧、郭二文於李柟著墨不多，遑論提及其推廣《桃花扇》。本文企圖分析整理，興化李氏影響力消長與清帝不禁《桃花扇》原因。[[notice]]補正完

從西方當代倫理學論戴震道德哲學規範根源

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楚辞と漢賦

財津桃渓先生遺

元遺山の史詩

昭和三十年五月二十四日懐徳堂春季古典講座講