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During my study of the term \u0027Iki\u0027, I have found many other sources saying that Sukeroku represents the ideal of \u0027Iki\u0027. I examine the question : \"Why is Sukeroku regarded as \u0027Iki\u0027 ?\" Though Sukeroku Yukarino Edozakura is one of the most famous Kabuki plays in the Edo-style, it originated in Kamigata (Kyoto/Osaka), where it was at first a love-suicide drama in both Joruri and Kabuki. When Sukeroku was brought to Edo by Danjuro II, the play was radically alterned. It is since that point, that Sukeroku came to be considered an example of \u0027Iki\u0027.\nSince only the Edo Sukeroku is said to represent \u0027Iki\u0027 and Kamigata Sukeroku not, a comparison of those two different types of Sukeroku plays should show some elements of the \u0027Iki\u0027 aesthetic. I compare the structures of the play and the different characters across a variety of roles. Then I compare the results with the definition of \u0027Iki\u0027 that Kuki Shūzō gives. Only the qualities found in Edo Sukeroku are comparable to the criteria Kuki consider essential for the definition of \u0027Iki\u0027, but they are of course not exhaustive.\n\u0027Iki\u0027 is a term with a broad spectrum of meanings, covering customs and fashions to principles of life. 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研究発表 歌舞伎の中の「いき」 ―上方と江戸に於ける助六劇の違い―
https://doi.org/10.24619/00002132
https://doi.org/10.24619/000021328d069079-8183-4210-a5a8-e72d217750d6
名前 / ファイル | ライセンス | アクション |
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研究発表 歌舞伎の中の「いき」 ―上方と江戸に於ける助六劇の違い― (10.6 MB)
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Item type | 会議発表論文 / Conference Paper(1) | |||||
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公開日 | 2016-09-02 | |||||
タイトル | ||||||
タイトル | 研究発表 歌舞伎の中の「いき」 ―上方と江戸に於ける助六劇の違い― | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | ‘Iki’ in Kabuki\n―Sukeroku in Kamigata and Edo― | |||||
言語 | ||||||
言語 | jpn | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_5794 | |||||
資源タイプ | conference paper | |||||
ID登録 | ||||||
ID登録 | 10.24619/00002132 | |||||
ID登録タイプ | JaLC | |||||
著者 |
Schinzinger, Emi
× Schinzinger, Emi× SCHINZINGER, Emi |
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抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | In his work "the structure of 'Iki'", Kuki Shūzō mentions Sukerolm as an example of 'Iki'. During my study of the term 'Iki', I have found many other sources saying that Sukeroku represents the ideal of 'Iki'. I examine the question : "Why is Sukeroku regarded as 'Iki' ?" Though Sukeroku Yukarino Edozakura is one of the most famous Kabuki plays in the Edo-style, it originated in Kamigata (Kyoto/Osaka), where it was at first a love-suicide drama in both Joruri and Kabuki. When Sukeroku was brought to Edo by Danjuro II, the play was radically alterned. It is since that point, that Sukeroku came to be considered an example of 'Iki'. Since only the Edo Sukeroku is said to represent 'Iki' and Kamigata Sukeroku not, a comparison of those two different types of Sukeroku plays should show some elements of the 'Iki' aesthetic. I compare the structures of the play and the different characters across a variety of roles. Then I compare the results with the definition of 'Iki' that Kuki Shūzō gives. Only the qualities found in Edo Sukeroku are comparable to the criteria Kuki consider essential for the definition of 'Iki', but they are of course not exhaustive. 'Iki' is a term with a broad spectrum of meanings, covering customs and fashions to principles of life. The Edo Sukeroku obviously fifs within the bounds of this aesthetic. |
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書誌情報 |
国際日本文学研究集会会議録 en : PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE 号 12, p. 105-120, 発行日 1989-03-01 |
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出版者 | ||||||
出版者 | 国文学研究資料館 | |||||
ISSN | ||||||
収録物識別子タイプ | ISSN | |||||
収録物識別子 | 0387-7280 | |||||
フォーマット | ||||||
内容記述タイプ | Other | |||||
内容記述 |