@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002123,
 author = {林, 水福 and LIN, Shui-Fu},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {11},
 month = {Mar},
 note = {pdf, The actual experiences of Fujiwara Chosi, author of the Sanukinosukenikki are an enigma enshrouded in mist. That shadows of the author and her spirit are consistently projected in the work, determining its expression, is, however, beyond doubt. By examining aspects of expression of the work, the author's mentality and creative intentions can be brought to light, and this in turn should lead to a grasp of the work's theme. Needless to say, all of this examination must take place within the framework of a study of the text as a literary work.
A wide rift between the expression of the first and second fascicles of the Nikki has long been noted. In particular, much of the first fascicle, accounts of events focused on the Horikawa Emperor, is related from the third person perspective of a witness. Such accounts tend to be marked by conclusive phrases ('Now I understand ...'What a sad affair,’ ‘It was as though ...’ ‘And thus today ended') which Kusabe Ryoen has called "concise and strong, forceful, tightly drawn."Behind such diction, certainly, is a strong and reverent affection for the Horikawa Emperor.
The expression of the second fascicle is extremely diversified. In accounts of public events, there is a display of exalted feeling not seen in the first fascicle. Again, a demand, addressed to the reader as witness, for recognition of the author's love relation with the emperor can be seen as underlying the expression of fragmentary recollections. Further, some of the more coherent recollective expressions tend to be highly subjective and hermetic. This would appear to evidence a shift in the author's perspective from the emperor to herself.
In addition to the above, a common tendency of the writing of both fascicles towards frequent use of repetitive diction and stock phrases does, indeed, as Matsumoto Yasusi has argued, result in a lack of precision. But this can be understood as the emphatic expression of high emotion, a response to the demands of the author's spirit.
The present study proceeds from an examination, outlined above, of aspects of expression, in an attempt to discover the author's mentality and intentions, and if possible to touch upon the thematics of the Nikki.},
 pages = {144--156},
 publisher = {国文学研究資料館},
 title = {研究発表　『讃岐典侍日記』の表現},
 year = {1988},
 yomi = {リン, スイフ}
}