@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002605,
 author = {Ermakova, Lioudmila and ERMAKOVA, Lioudmila},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {22},
 month = {Oct},
 note = {pdf, In Japanese poetry, be it waka, or modern poetry, place is always acquiring a special significance―this is a well-known fact. Of course, the poetry of other countries also considers place as an important category, but one can say that the history of waka is remarkable in this respect. In the period of transition from the folklore songs kayo to the phase of written literature the concept of place, which was always being thought the most important in the Japanese culture, was transmitted among the others, though this concept has naturally undergone some mutations. The waka of Nara and the beginning of Heian periods maintains in many respects a strong connection with the world of myth and ritual, and, to all probabilities, the formation of waka's devices was influenced not only by the Chinese literature, but by the folklore songs, customs and ideas as well. And one such device which is directly connected with the notion of place and which is, as far as I know, unique in the world literary history, is, of course, the so-called uta-makura. There have been quite a number of studies on uta-makura in recent years that have tackled its structure and function, and I shall not consider this device here.
What I intend to focus on is the characteristics of space and place in waka. In mythical worlds, space is not homogenous. In a similar way, the spatial points that appear in waka are various. One of the concepts common to waka and, for instance, the ritual prayers Norito given in “Engishiki”（X century) is that of place as a point where communication between this world and that world is possible. Riverbanks, crossroads are places of a special sacred nature; here a sort of spatial vortex is formed and one can communicate with the other world and has a chance to produce some effects on one's own future. The borderline between this world and the other one is also full of supernatural powers. This paper explores how the way to handle these powers changed from magical devices to poetical devices, focusing mainly on the way space is classified in waka.},
 pages = {53--60},
 publisher = {国文学研究資料館},
 title = {研究発表　和歌における空間の渦巻と他界への懸け橋},
 year = {1999},
 yomi = {エルマコーワ, リュトミーラ}
}