@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002643,
 author = {岩崎, はる子 and IWASAKI, Haruko G},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {24},
 month = {Mar},
 note = {pdf, In the discussion of so-called “illustrated fiction,” the primacy of the written text over the image tends to be taken for granted, especially in the West and perhaps in much of modern Japan. According to this view, the text, or “honbun” is the primary bearer of the story, whereas the image, or “sashie” only illustrates the story that has already been recounted. In the pre-Meiji Japan, however, this was not necessarily the case. Before the West's logocentric influence began to overshadow the rich visuality of Japanese tradition, the visual element could play a role possibly more vital than that of the text itself, not only in the story-telling process but also in the creative stage of the work itself. Such vitality of the images was nowhere more clearly visible than in the illustrated literature of the late Edo period. The twin growth of woodblock printing and ukiyoe of this time spawned new hybrid genres, which in turn opened a new range of possibility in text-image relationship. Particularly important in this development was the dynamic engagement of the visual images with the text in the genre called “kibyôshi” or “yellow-covers” a prolific hybrid genres that emerged in the late eighteenth century Edo.
This paper explores this new dynamism of words and images in two important works in kibyôshi: Kinkin Sensei eiga no yume, created in 1775 by a samurai literatus Koikawa Harumachi, and Edoumare uwaki no kabayaki, offered ten years later by a young chonin writer Santô Kyôden. Kinkin Sensei is the very first work in kibyôshi, while Edoumare is widely seen as the finest product in this genre.
The focus is on the strikingly novel role that the pictures played in creating the two works. In both, the visual element--the images of the protagonists--actually existed before the story, in contexts wholly unrelated to the two works. Master Kinkin's image was a composite of the types that had appeared in a fashion booklet for men. The pugnosed face of the anti-hero in Edoumare had first appeared on a hand-towel, presented at a design contest. Harumachi and Kyôden took these images and wove brand-new stories around them. The social and cultural factors that possibly had contributed to this intriguing development will be touched upon in the end.},
 pages = {215--228},
 publisher = {国文学研究資料館},
 title = {研究発表　越境する画像　黄表紙画像の独立、先行性について},
 year = {2001},
 yomi = {イワサキ, ハルコ}
}