@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002251,
 author = {Ruperti, Bonaventura and RUPERTI, Bonaventura},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {19},
 month = {Oct},
 note = {pdf, I propose to examine the recognised concept and methods of "quotation" in Classical Japanese Literature, with particular reference to poetical theory and study of the Noh, in waka honkadori and Noh honzetsu, as well as quotations from Noh chants in the historical dramas of Chikamatsu Monzaemon. The purpose of my paper is to elucidate the manner of such quotation, through an examination of the techniques, processes and transitions fundamental to the construction of the works.
With regard to honkadori, I would like to look closely at the perceptions and critiques of current poetical theory, as well as the rules and restrictions which governed work and methods, and the relation between classical and contemporary poetry.
With regard to the concept and practise of honzetsu in Noh, I would like to consider this in the context of the Zeami's theories concerning Noh composition. In particular, I will examine the distinctive concept of honzetsu as contained in the Zeami's detailed explanations of Noh theory: Kaden Dairoku Kashū, Sandō, and Sarugaku Dangi (Nos. 16, 17, 18).
Dealing with a discussion of source materials in jōruri historical dramas, I will re-examine how these are related, directly and indirectly, to yōkyoku Noh chants in the works of Chikamatsu.
"Every text is formed from a mosaic of quotations" (J. Kristeva). In this sense, quotation can be regarded as fundamental to the creation and analysis of the text, and the mutual relevance theories of scholars such as Kristeva have recently been widely adopted also in the research of classical Japanese literature. However, the perception of the function of knowledge based on the unlimited possibilities of links between texts, and their construction and interpretation, has had a variety of influences on the thought and creative activity which supports the traditional Japanese literary arts, and I would like to consider this fact with reference to poetical theories, literary works and treatises. In particular, drama is more sensitive to the manner of its enjoyment than literature, and the diverse and multi-layered role of quotation is clearly recognised by Zeami in his treatises on Noh. When we consider the composition of kinsei drama, here too, multifarious sources are used to great effect. Even where there is a great disparity within the context of the culture of the age, we must be aware that in the Noh and jōruri the emphasis is on successful performance, the auditory and visual dimension of acting, and on expressing the dramatic aspects of the play.
The most suitable source for the fictional world of literature and drama is the intellectual and cultural space determined by the previously established repertory which stands alongside the historical reality behind the work. But drama, while moving the audience's memory, thoughts and expectations, also has the power to re-illuminate a classical work of literature, thereby producing a modernised interpretation which is unique in sound and vision.},
 pages = {45--59},
 publisher = {国文学研究資料館},
 title = {研究発表　文学と演劇の「引用」の差異について　本歌取・本説・素材をめぐる一考察},
 year = {1996},
 yomi = {ルぺルティ, ボナヴェントゥーラ}
}