@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002170,
 author = {松尾, 葦江 and MATSUO, Ashie},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {15},
 month = {Mar},
 note = {pdf, The close relation between gunki- monogatari (martial narratives) and setsuwa (tales) was pointed out long time ago. For instance, the theory of the gunki- monogatari is that they are composed of tales, and organized in the style of chronicles : many of the gunki-monogatari are based on various tales; people's creativity gives them a lively tone by means of tales. And these are certainly true of Heikemonogatari.
The great number of Heikemonogatari versions seem to imply the wide range of themes the people in the medieval age sought in Heikemonogatari, as well as its forms in the period of transition. I'd like to take up its most characteristic version, Gempeijōsuiki, and see how the tales function in them, to analyze its characteristics as a literature.
In Gempeijōsuiki tales are generally lengthened or added with other tales. As a result, in some cases, the story divert from the context ;or the logic of the story is left to the readers with some choices owing to the numerous examples. We have long underrated these as a divertion of the plot. Yet in Gempeijōsuiki tales serve not only as materials but as a device to organize a story. It seems as if Gempeijōsuiki had tried to dissimilate and comment on the well-known Heikemonogatari, to construct its own world, just as similes and metaphors enliven sentences with unexpectedness and series of images.
In the history of gunki-monogatari, Gempeijōsuiki is said to occupy a position between Heikemonogatari and Taiheiki. I'd like to analyze the point, too, through the function tales.},
 pages = {60--68},
 publisher = {国文学研究資料館},
 title = {研究発表　源平盛衰記と太平記　―方法としての説話―},
 year = {1992},
 yomi = {マツオ, アヒエ}
}