@inproceedings{oai:kokubunken.repo.nii.ac.jp:00001905,
 author = {常田, 槙子 and TSUNEDA,  Makiko},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {37},
 month = {Mar},
 note = {pdf, Yamata Kikou (1897-1975) was the writer who translated Genji monogatari into French (in 1928, from the volume of “Kiritsubo” to the volume of “Aoi”). It was the first time its French translation was published in book form. In this presentation, I am going to focus on her translation of noh for the purpose of understanding the haracteristics of her translation.
  While researching data on Yamata, entrusted to the Geneve library, I discovered material which showed a deep relation between Yamata and noh. It is a well-known fact that she wrote on noh in the 1920s. Through my research, I was able to discover the origins of her relation with noh. She had watched noh since she was young. Besides, during the Second World War, she sought refuge in Japan and learned the Kanze school of noh dance. After the war, she returned to Europe and gave lectures and demonstrations on noh. According to my examination of the paper for such a lecture, entitled “Le Japon et ses danses (Japan and Japanese dance)” in 1951, Yamata described noh dance as ‘les danses d’ames (dancing of a soul)’ and regarded it as ‘l’illumination spirituelle des ames (purification of the spirit)’. Yamata’s activity before the time when genuine noh performances were taking place overseas (1954 in Italy and 1957 in France), is notable as she personally introduced noh to French society. There are few such examples.
She reached the conclusion that noh headed for ‘l’illumination spirituelle des ames (purification of a spirit)’ and this understanding must have been reflected in her translation of noh. I would like to explain the characteristics of her translation of noh as the writings of noh are decorated by literary technique. In addition to this, I am going to mention the relation between noh and the most important work of her La Dame de beauté (1953) which was considered for the Prix Femina and will examine Yamata’s introduction of noh at the beginning of the 1950s.},
 pages = {107--133},
 publisher = {国文学研究資料館},
 title = {研究発表　ヤマタ・キクと能　――フランスでの能の紹介と翻訳――},
 year = {2014},
 yomi = {ツネダ, マキコ}
}