@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002124,
 author = {Gerling, Reuben M and GERLING, Reuben M},
 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, It is a common belief that poets who belonged to a poetic house preferred to use the name of an illustrious ancestor rather than their own. This idea was enhanced by the most well-known house of poetry, the Mikohidari, who preferred to use the name of Teika in their spurious treatises. Indeed, Teika himself instigated that practice when he kept on referring to his father Shunzei in his own works. Mikohidari, however, were a late comer. How did the poets of the first poetic house, the Rokujō，behave?
Akisue, the founder of the house, and his chosen heir Akisuke left little in writing. This meant that the third head of the house, Kiyosuke, had to rely on his own work. He did, however, have access to the most important poet of the day, Minamoto Toshiyori, and to Ōe Masafusa. He thus received knowledge from inside as well as from outside the Rokujō house.
At the same time Kiyosuke was also an independent individual who held strong views about the practice of Japanese poetry. As a result, although we can find the influence of Toshiyori in his work, it is obvious that Kiyosuke used what he had learned and what he had gathered from independent sources to create theories of his own.},
 pages = {157--165},
 publisher = {国文学研究資料館},
 title = {研究発表　六条家歌人の個性、特に藤原清輔の場合},
 year = {1988},
 yomi = {ゲーリング, ルーベン M}
}