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緒論 なぜ「テクスト遺産」か Shoron Naze tekusuto isan ka (Why "Textual heritage"?)
No full textThis article explains the need for the new theoretical paradigm of "textual heritage"
"Shoron. Tsune ni genzai o ikiru tekusuto isan" 緒論 常に現在を生きるテクスト遺産
No full textL'articolo introduce nel dettaglio il concetto di textual heritage relativo al periodo moderno e contemporaneo in GiapponeThe article provides a detailed introduction to the concept of textual heritage in relation to the modern and contemporary period in Japan
テクスト遺産とは何か Tekusuto isan to wa nani ka (What is Textual heritage?)
No full textThe conclusions of the volume. It includes various definitions of "tectual heritage" expressed by the contributors
古典は遺産か?日本文学におけるテクスト遺産の利用と再創造 (Koten wa isan ka? Nihon bungaku ni okeru tekusuto isan no riyou to saisōzō) Are Classics a Heritage? Uses and Re-Creations of Textual Heritage in Japanese Literature
No full textThis volume collects papers and columns from 18 scholars of Japanese Literature. The volume is divided in 4 sections: 1) Ownership; 2) Authorship; 3) Authenticity; 4) Expanding Textual Heritage
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Textual Heritage Embodied: Entanglements of Tangible and Intangible in the Aoi no ue utaibon of the Hōshō School of Noh
Get PDFIn the first section of this article, I proposed the idea that processes of heritage embodiment can be understood in a double and reciprocal way: from intangible practices and ideas into tangible objects, and from tangible objects into living performances and people.
The example of utaibon and their relationship with the living practice of nogaku in the Hōshō school confirms this theory. The plays’ performance is informed and regulated by the (tangible) presence of a specific canon of texts, whose contents—the story, the characters, the dialogue, the songs, the dances, and so on—are embodied by the actors onstage. At the same time, the living and intangible experience that comes from the everyday practice of performing the plays may be eventually embodied in new annotations that, in turn, will inform again the next generation of actors and their performances, in a sort of spiral between text and actors, an entanglement of things and humans.
The paradigm of textual heritage proposed in this article has the potential to allow a wider view on a complex set of cultural practices, like the transmission and preservation of a traditional performing art such as nogaku. In so doing, it stresses the role and the interdependencies—the entanglements—that texts intended as things and as practices have with the people
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