National Institute of Japanese Literature Repository / 国文学研究資料館学術情報リポジトリ
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Structural Analysis of Noh in the Muromachi Period: Focusing on its Multilayeredness and Diversity
Get PDFpdfNoh is often composed of a variety of texts, such as quotations taken from literacy sources, waka insertions or even parts of Buddhist scriptures. While the complex intertextuality in the lyrics of a noh play shows the diversity of the medieval literary world, it may also render the meaning of the lyrics unintelligible. Zeami was the first medieval actor to discuss the complex structure of a noh play. Some of this teaching was passed down through secret treatises to his son-inlaw, Konparu Zenchiku （1405－1470?）, during the Muromachi era. While Zenchiku inherited the fukushiki-nô （noh in two parts） created by Zeami―a style of play that distances itself from the realistic timeline commonly used in dialogue-centric theater in the early 14th century―he didn’t consider the physical theory of Zeami’s art. In addition, diverging from the literary norms established by Zeami, Zenchiku created plays that are often evaluated as ambiguous due to the fact that the texts inserted into them appear to have been quoted out of context. How did Zenchiku receive and adapt Zeami’s teachings? How did the transition from imitation of the master’s thoughts to the process of art creation happen in noh theater during the Muromachi era? In order to solve this problem, this presentation considers the multiplicity and diversity of medieval playwrights through the concept of “intertextuality”. More specifically, we will analyze the interrelationships （citations, metaphors, waka insertions, rewritings, etc.） between the playwrights Zeami and Zenchiku. By doing this we hope to look through a new lens at Zenchiku’s work.conference pape
Suggestions for Commentaries and Translations of Hundred-verse Renga Sequences: How to Express Their Independency and Linking
Get PDFpdfRenga （連歌） is a genre of collaborative poetic composition that became popular in Japan over the course of the medieval period. Originating from waka, it gave rise in turn to haikai and haiku. Yet while haikai has survived as renku up to the present, renga itself came to an end during the Meiji period. People lost the basic knowledge necessary for composing and appreciating hundred-verse renga sequences. Nonetheless, it can be said that renga researchers made a fresh start in the twentieth century and managed to rebuild this lost foundation. Nowadays, several commentaries on renga sequences are available, and even a selection of translations into English. However, not all of these are written in the same format, which might create confusion for readers. In this presentation, a number of suggestions on renga commentaries and translations will be offered, with the hope of making both of them more accessible for modern readers. Existing commentaries and translations tend to focus on the linking （tsuke 付け）
that takes place between pairs of verses composed each by different poets. More specifically, they mostly explain the connections that bind the first and second verses, the second and third verses, and so on. It is essential to remember that the linking between any two verses is based on each verse’s independence （kire 切 れ）. For instance, when one tried to compose the third verse, the first step would be to consider the set of the first and second verses separately, after which one could then look at the second verse alone. It seems that participants processed the renga sequence at a given session like this:
（1） The first verse （ 2） The first and second verses （ 3） The second verse （ 4）
The second and third verses … etc. In short, each verse would have triple contexts （excepting the first verse and the final hundredth）. In spite of this, the problem is that existing commentaries and translations do not have a uniform standard for which of these contexts they undertake to address, or for the order to be followed when trying to address multiple contexts. Here we should learn more from medieval renga commentaries written for beginners. According to previous research, these earlier texts’ manner of focusing on the context of each individual verse enables readers to re-experience the session （Asai, 2018）. It also seems that both making clear the independence of each verse and at the same time constructing solid links between them demanded high levels of skill （Ikuta, 2018）. Taking those points carefully, I will discuss a new format for renga commentaries and translations, one which can indicate the process of an actual session as well as the many contexts of each constituent verse. Works Cited: Asai, M. （2018）. “Renga kochūshaku to tsukeai gakushū: ‘Ikku’ ni chūmoku saseru to iu koto” ［Old Renga Commentaries and Learning How to Link: The Meaning of Focusing Attention on ‘The Individual Verse’］ . Chūsei bungaku 63: 88－97. Ikuta, Y. （2018）. “‘Nokedokoro’ ni miru renga hyakuin no yukiyō to kōsei ishiki: Yoshimoto to Sōgi wo hikaku shite” ［Flow and Structure in HundredVerse Renga Sequences as Seen from ‘Pivot-points’: A Comparison between Yoshimoto and Sōgi］ . Chūsei bungaku 63: 98－107.conference pape
The Reception of Isoho Monogatari in Waranbegusa by Ōkura Toraakira
Get PDFpdfWaranbegusa is a treatise on Kyōgen, written by Ōkura Toraakira （1597－ 1662）. Toraakira, in this treatise, describes his own Kyōgen theory, such as the performance practices of actors, but also cites many passages and narratives from Japanese and Chinese texts to support his claims. One of these texts is Isoho Monogatari, a Japanese translation of Aesop’s Fables. After its first edition in 1624, Isoho Monogatari was not only published in old moveable-type editions （kokatsuji-ban） at least nine times, but also in 1659 in woodblock, which was relatively easy to reprint. This suggests that Isoho Monogatari attained a wide circulation in the Edo period. Most studies, however, have only pointed to the existence of Isoho Monogatari ’s fables or similar stories in other literary works, without focusing on the reception of Isoho Monogatari in the literature of the Edo period. This study seeks to analyze Washi to katatsumuri no koto （The Eagle and the Snail）, one of the fables from Isoho Monogatari in Waranbegusa, in order to clarify the actual conditions of the reception of Aesop’s Fables during the Edo period. The storyline of Washi to katatsumuri no koto is as follows. An eagle hunted a snail but could not break its shell. When the eagle was in trouble, unable to break the shell, a crow advised the eagle to fly very high and drop the snail, which led the eagle to get its meal. And at the end of the story, there is a moral that it is important to accept the opinions of wise men, no matter how powerful one is. The full text of this fable is contained within the notes to the preface of Waranbegusa, and according to previous studies, its purpose was to teach actors that it is important to ask people even from other schools if one has any questions during training and performance practices. However, the fable in Waranbegusa is related to the context of the preface, in contrast to Isoho Monogatari, where each fable stands alone as its own story. Considering the contexts of the preface with the change of situation in the Nohgaku scene of the early 17th century, this fable serves to show off the superiority of the author’s own school rather than as a moral in Waranbegusa.conference pape
Cover,contents,writer list and colophon: The Bulletin of National Institure of Japanese Literature vol.16 Archival Studies
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Present Situation and Issues of Private Medical University Archives: A Case Study of the Aichi Medical University Archives
Get PDFpdf本稿では、愛知医科大学の事例を中心に実務的な立場から私立医科大学の現状と課題を把握し、今後の私立医科大学における大学アーカイブズの展望を示すため，アンケート調査と取材を行い他大学との比較を通して考察を試みる。私立医科大学アーカイブズは，機関アーカイブズと収集アーカイブズの側面から課題がある。機関アーカイブズにおける課題は、アーカイブズが法人文書の廃棄、移管について関わっている大学が少ないことである。そこには大学アーカイブズ側と文書を流入させる側の課題がある。大学アーカイブズ側の課題は、大学アーカイブズが法人文書の評価選別を行う際の課題であり，大学内の特定の個人や集団に由来した偏りのある判断を避け，学内外に説得的であることが重要である。文書を流入させる側の課題は，各部署による大学アーカイブズへの移管がうまくいかず廃棄されるという課題であり、大学アーカイブズは、各部署に出向いて現物をみる、現況等を聞くといった各部署とのやりとりが重要である。次に、収集アーカイブズにおける課題は、所蔵点数が少ないことである。愛知医科大学アーカイブズの事例に加え、聖路加国際大学の事例では，学生への広報を取り上げ，金沢医科大学の事例では，所蔵点数の多さを裏付ける出版物、写真等の自動的収集について取り上げる。今後の展望として医科大学においてはカルテ等も大学アーカイブズの収集対象になりえることも触れる。departmental bulletin pape
The Awareness of Past and Present in Heian-Period bunjin: Kanshishū Prefaces as Discourse on Textual Heritage
Get PDFpdfThe word “Classics （koten）”, invented in the modern period, is often used to indicate the “culture of the past” in contrast with the concept of “modernity”. This use of the word koten reinforces the wrong idea that “things of the past”, being substantially unrelated with the present, are in practice useless to the understanding of issues affecting modern societies. This misunderstanding is probably the main reason leading to the so-called “crisis of the classics” in the last decades. On the other hand, social processes like the use, re-creation and valorization of the culture of the past in the present have led to the birth and thriving growth of the new academic field of “heritage studies” （Laurajane Smith 2006）. Drawing on this new approach, which considers the “things of the past” as a tool to tie past cultures to present identities, I argue that rethinking “classical literature” as a form of “textual heritage” can offer new insights into the debate about the “crisis of classics” today. To negotiate present identities through dialogue with the past is not necessarily a modern conception, but it is something that always happened in every age （David Harvey 2001, 2008）. In the case of Japanese Classical Literature of the Heian period, authors always produced texts―of which literary works were but a subset―through the reading and quoting of past masterpieces, in both direct and indirect manners. But how was the idea of the past shaped in the writing of Heian poets who inherited and reused style and contents from Man’yōshū or the Wenxuan, and how did this intertextuality lead to the creation of a present identity in contrast or continuity with the past?
In today’s presentation I will draw on the idea of “textual reenactment” （Wiebke Denecke 2004） to identify into the text of kanshi and waka collections’ prefaces of Nara and early Heian a specific discursive construction about the past, similar to processes of “heritagization” theorized by scholars of heritage. This paper is also intended as a mid-term result of the three years’ fellowship I briefly anticipated during the 42nd International Conference on Japanese Literature in 2018.conference pape
The 43rd International Conference on Japanese Literarure: Presenters, Programs, Committee member list
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Changes in the evaluation and selection on administrative document at Tsuruoka City
Get PDFpdf本稿では、鶴岡市における行政文書の評価選別についてのこれまでの経緯と現状、並びに課題を論ずるものである。
鶴岡市においては、昭和30年代に周辺地域の2町9村が編入合併されたが、その際、旧町村役場資料については、昭和40年（1965）から3年かけて収集し、整理を進めてきた。また、同年に「鶴岡市文書管理規定」を制定するが、その中には明記されなかったものの、当時より保存年限が切れた行政資料の保存に取り組んでいた。当初、資料の評価選別の業務については、庶務課（当時）があたっていたが、昭和51年（1976）6月に文書館的機能を有することを特色として打ち出した鶴岡市郷土資料館が設立したことから、その業務は郷土資料館が引き継いでいくことになった。
しかしながら、近年の評価選別については、通常、文書館が行っている視点から乖離して、郷土資料館的な視点が定着していくことになる。先駆的に行政資料の保存に取り組んできた鶴岡市であるが、結局のところ、「文書館」としての機能を有するまでには至らなかったという点が本稿の主題となる。
山形県においても、平成31年（2019）2月に公文書館管理条例が制定されたように、市町村レベルにおいてもその制定が議論されている今日の状況で、今後の鶴岡市における文書保存・公開について考えていきたい。departmental bulletin pape