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About a manuscript: Focusing on inscription usually preceding the colophon and book history
Get PDFpdf本テキストは、「第17回日本古典籍講習会（令和元(2019)年度）」（2019.7.2-5：国文学研究資料館、国立国会図書館共催）で使用された資料の一部です。learning objec
Analysis on the structure of historical documents in the Kashidoiya Archives taking Endō family’s document as the example
Get PDFpdf本稿は、現在の埼玉県川越市上新河岸にあたる上新河岸村で、河岸問屋を営んだ遠藤家の文書について構造分析を行うことで、河岸問屋アーカイブズの特質を考察した。
遠藤家の文書群は、すでに現秩序が失われていたため、①肩書・役職、②「家」や「店」の機能、③残された秩序に注目し、10のサブフォンドに編成した。ここでは、各サブフォンドは、主に①本来遠藤家に伝わり作成された文書、②役務・組織所属の関係上遠藤家が授受した、または写しを作成した文書、のどちらかの性質を有していた。
その後、編成構造の可視性と利活用時の利便性を両立させるため、サブフォンド全体を俯瞰した時に表れてきた４つの系統を新たにサブフォンドとして設定し、先に設定したサブフォンドをシリーズに落とし込むことを試みた。
その結果、遠藤家文書に見た特質から分かる河岸問屋アーカイブズの特質は次の２点であった。すなわち、文書群は主に①河岸問屋経営、②問屋仲間会所運営、③村政運営、④家政の４種類から構成されること、そして①が主に、経営関係、河岸場の維持・運営、他の商人との交流、舟運従事者関係の４種類で構成されることを明らかにした。
In this paper, we examined the characteristics of the Kashidoiya archives by analyzing the structure of Endō family's documents. The Endō family was running a shipping company called Kashidoiya that loads and unloads ship's luggage on the riverbank in the Kami-shingashi village, located in the area corresponding to the current Kami-shingashi in Kawagoe-shi, Saitama Prefecture.
Since the Endō family's document group had already lost the original order, we focused on ① job title and position, ② functions of "house" or "store", and ③ the remaining order, and then arranged the document group into 10 sub fonds. It became clear that each sub fond has either one of the following characteristics: ① a document originally transmitted to the Endō family and then created, or ② a document transferred to or copied by the Endō family in relation with services/organization affiliations.
When we looked over the whole documents group again in order to make both the visibility of arrangement structure and also the convenience at the time of utilization work, we found new four divisions with higher order than the ten sub fonds that we first arranged. Therefore, we rearranged those newly discovered divisions as sub founds and then distributed the 10 divisions, formerly defined as sub fonds, as the lower divisions to the new four sub fonds.
Based on the characteristics seen in the Endō family’s document, we identified that the characteristics of the Kashidoiya archives were the following two points:
One, the documents group consists mainly of four types: ① Kashidoiya management, ② Association management, ③ Village administration, ④ House economics. Two, the ① consists of four main types: the business management, the maintenance and or operation of the shore, the exchange with other merchants, and workers for the riverboat shipping.departmental bulletin pape
About Imprint in Japanese Old Books
Get PDFpdf本テキストは、「第16回日本古典籍講習会（平成30(2018)年度）」（2019.1.22-25：国文学研究資料館、国立国会図書館共催）で使用された資料の一部です。learning objec
Making of the "Cataloque of Early Japanese Books at NIJL"
Get PDFpdf本テキストは、「第16回日本古典籍講習会（平成30(2018)年度）」（2019.1.22-25：国文学研究資料館、国立国会図書館共催）で使用された資料の一部です。learning objec
The Reception of Ise-monogatari in the Kamakura period: The messages that the annotations of Ise-monogatari carry
Get PDFpdf鉄心斎文庫の伝二条為氏筆伊勢物語は、鎌倉時代の筆と考えられる現存最古の伊勢物語写本の一つであり、定家本勘物の存在や奥書から定家本の一つとされて重要視されてきたが、勘物以外に数多く見られる注記は、これまでまったく注目されてこなかった。実はそれらの注記は、同じく鎌倉時代の写本である天理図書館蔵伝為家筆本にも、ほぼ同じように付されているものであり、本文と同じく鎌倉時代にまでさかのぼるものと考えられる。勘物も含め百九十箇所にも及ぶ多量の注記は、注釈資料がほとんど知られていない鎌倉時代中・後期の伊勢物語の享受や研究の姿を垣間見せてくれる、貴重な資料である。
本論文では、まず独自の内容を持つ注記に注目し、その興味深い内容を検討した。さらに、定家勘物などを批判する注記が存在することに注目し、定家勘物の付された本を使いながら勘物を絶対視せず、また注記に対しても時に批判を加えるという、注記筆者の態度に注目した。さらに、無名の登場人物に特定の人物をあてはめる秘注的注記が一例だけ存在することに注目し、『毘沙門堂本古今集注』などの古今秘注の世界との関連を探り、あわせて清輔本『古今集』勘物に由来している注記にも注目して、六条家歌学との関わりも考え、最後に天理図書館蔵伝為家筆本の巻末に増補されている小式部内侍本本文の性格にもふれた。
The Ise-monogatari that has been said to be transcribed by Nijō Tameuji, the one reserved in the Tesshinsai Collection, is one of the oldest of the existing manuscripts assumed it was transcribed during the Kamakura period. Because of glosses (Kanmotsu) on the Teika-bon manuscripts and by the colophon, it has been regarded as important as one of the Teika-bon manuscripts. However, the other numerous explanatory notes that are attached to Ise-monogatari have not been treated as valuable as the glosses at all. In fact, those notes are attached in the same way to the books that has been said to be transcribed by Tameie (Tenri library), the other manuscript transcribed during the Kamakura period. Thus, those notes are considered to trace back to the Kamakura period just like the main texts. The 190 pieces of those notes attached to both manuscripts are valuable materials that glimpse of the reception and the research on the Ise-monogatari during the Kamakura period.
We spotted that there was only one example of Hichū-chūki, applying a specific person to an unknown character. So, we investigated the relation with the world of Kokin-hichū such as Bishamondō-bon Kokin-shūchū, etc.
Together, we pointed out the notes relying on Kiyosuke-bon Kokin-shū and discussed over the relation with Rokujōke-kagaku. Finally, we briefly mentioned upon the characteristics of the body of Koshikibu-no-naishi-bon that was supplemented at the end of the books that has been said to be transcribed by Tameie (Tenri library).departmental bulletin pape
References to The Tale of Genji in Medieval Commentaries to the Ise- Monogatari
Get PDFpdf『源氏物語』（１００８頃）が書かれたのは、『伊勢物語』（８８０頃）の原型の成立に遅れるところ百余年である。それにもかかわらず、室町から江戸時代にかけての注釈者たちは、しばしば『伊勢物語』中の言葉や文章の解釈のために、『源氏物語』のテクストを参照している。この解釈の方法は、一条兼良（１４０２−１４８１）著『伊勢物語愚見抄』をはじめとして、宗祇・三条西家に講釈・伝授された注釈、牡丹花肖柏（１４４３−１５２７）著『伊勢物語肖聞抄』、清原宣賢（１４７５−１５５０）著『伊勢物語惟清抄』に、その例を見ることができる。しかし、『源氏物語』の参照が劇的に増えたのは、細川幽斎（１５３４−１６１０）著『伊勢物語闕疑抄』と北村季吟（１６２４−１７０５）著『伊勢物語拾穂抄』によってである。
本稿は、『伊勢物語』の文章を解釈するため『源氏物語』に言及した数例を考察し、このようなテクスト性（インターテクスチュアリティー）が作品理解にどのような影響を与えたのかを考察する。
Although The Tale of Genji (ca. 1008) was written over one hundred years after the earliest version of the Ise monogatari (ca. 880), commentators from the Muromachi through Edo periods occasionally referred to Genji to explain a word or textual passage in the Ise. We see this as early as Gukenshō by Ichijō Kaneyoshi (1402-1481). We also see it in commentaries from the Sōgi-Sanjōnishi-ke of commentaries, including Shōmon-shō by Botanka Shōhaku (1443-1527), and the Isei-shō by Kiyoharano Nobukata (1475-1550). However, references to Genji increase dramatically with the Ketsugi-shō by Hosokawa Yūsai (1534-1610) and the Shūsui-shō by Kitamura Kigin (1624-1705). The present article examines several cases where the Genji is referred to in order to explain a passage in the Ise monogatari and examines how such intertextual references influenced commentators’ understanding of the earlier text.departmental bulletin pape
Corrections of Waka Poems in the Genroku Era
Get PDFpdfThis study focuses on poetry corrected by waka scholars around the Genroku Era (1688-1704). The waka are from the collection of poetry of the HIRAI family and residents of Kajita, Mino Province. The waka scholars mentioned in this study are Jige poets (poets who were not the emperor or high ranking court nobles) who belonged to the Nijō School and lived in the Kamigata region (Kyoto). Those waka scholars often corrected waka written by amateur poets who lived in the rural towns.
The HIRAI family and Kajita residents sent many of their Eisō (draft waka) to various Kamigata Jige poets and asked them to correct the same poetry at the same time. These corrections may be a useful resource to examine the detailed process used in correcting waka. The study compares the two examples of corrections, and reviews the methods of correction. Furthermore, it considers Wakakan (the view of waka) and Eiga Sahō (the ways and rules of creating waka) followed by Jige poets of Nijō School in Kamigata in the Genroku Era. This is the reason for the title “Genroku no Tensaku (Corrections of Waka Poems in the Genroku Era)”.
＊This study is a translated version of KANSAKU Ken-ichi’s Genroku no Tensaku in Kinsei waka-shi no kenkyu 1-2 (2013).
美濃国加治田の豪商平井家に伝存する、およそ1,000点の文芸資料の中に、その八代目当主平井冬音らが受けた和歌の添削資料が含まれている（岐阜県加茂郡富加町郷土資料館現蔵）。その大半は、詠草を上方へと送り京都の歌学者によって添削・返送されてきた一次資料であり、形態は、折紙一通の短いものから巻子状に及ぶ長いものまで区々認められる。その数、62点。年紀は、正徳元年（1711）から享保末年（1736）まで。添削者は、香川宣阿・香川景新・金勝慶安・水田長隣・有賀長伯ほか、元禄前後に上方で活躍した地下二条派歌人を中心とする。彼ら地下歌人によるこの種の通信添削については、これまでも少なからず言及されてきたが、このように、その一次資料がまとまって見出されたのは初めてのことで、彼らの具体的な添削の方法を窺うには絶好の資料だと思われる。特に注目すべきは、冬音らが、ほぼ同時期に同内容の詠草を複数の師に別々に送って添削を受けている例が2例、残ることだ（正徳5年〈宣阿・長隣・慶安〉、享保元年～2年〈宣阿・長隣〉）。本稿では、この2例の添削の跡をつぶさに比較検討することによって、元禄期の上方地下二条派歌人の和歌観や詠歌作法について考えることとしたい。
＊本稿は、神作研一「元禄の添削」（『近世和歌史の研究』所収、角川学芸出版、2013）を英訳したものである。departmental bulletin pape
A Facsimile Reproduction and Introduction to "Denju-shidai" Held by the Nakanoshō Nigawa Family
Get PDFpdf本稿では、中庄新川家蔵『伝受次第』を翻刻・解説する。同書（以下、『伝受次第』と記す）は、「（寛文五年三月以前）伝受次第〔堺古今伝受系図〕」として整理された一紙で、整理番号は一-二一七号。鳥の子で、寸法は二九・四㎝×四四・三㎝である。端裏に「系図」と記し（写真２）、左金吾から盛里に至る古今伝受の系図を記す（写真１）。宗祇から肖柏を経て新川家五代盛里に伝えられた、いわゆる堺伝受の道統を示す資料である。本研究報告では、同書を翻し、その内容について検討を加えたい。departmental bulletin pape
Symposium: "Representation of a War", Title Preliminary Essay about the Representation of War as a Beautiful Battlefild in the War Chronicle
Get PDFpdfJinichi Konishi insists in Nihon Bungei-shi III that there is no description of blood with death in the Heike Monogatari Kakuichi-bon. Although what Konishi’s pointed out is not accurate, it is certain that depictions of battlefields in war chronicles are stylized. Those depictions do not cause fear or disgust. War chronicles do not describe a battlefield graphically. For example, as depicted in The Iliad, horrible representations such as spilled eyeballs, viscera, brains or spinal cords, or corpses crushed by horses are not seen in war chronicles. It is also certain that The Heike Monogatari (Kakuichi-bon) eliminates especially such horrible depictions. This elimination can be explained by the term abjection that Julia Kristeva developed.
According to Kristeva, an infant tries to separate her/himself from the mother as the abject. She/he leaves the maternal entity and enters a patriarchal symbolic order. Therefore, she/he becomes a member of cultural society. Those that interrupt identification, order and organizations and do not respect the boundaries, locations or norms are the utmost of abjection. For example, excrements, decay, corpse, menstrual blood, pus, body fluids and sickness correspond to the abjection.
War chronicles stress the order. As I argued previously, while they depict rebellion against the power, they ultimately show the absoluteness of the power and the legitimacy of a community. As many stories about sons and fathers show, their world is dominated by patriarchal principle. Therefore, representations which threaten the patriarchal symbolic order are eliminated from war chronicles. Moreover, a battle (ikusa) in war chronicles is depicted as a beautiful celebration of the community.
War chronicles as historical narrative of the community, produce beautiful depictions of battlefields. The Heike Monogatari (Kakuichi-bon) is a typical case of it.conference pape