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研究発表 現代人の感覚を呼び戻す古典の中の謡曲の役割 ―卒塔婆小町の一句の一例―
https://doi.org/10.24619/00002696
https://doi.org/10.24619/00002696463ed46c-ba8a-4378-9447-dd136b6ba1ec
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
研究発表 現代人の感覚を呼び戻す古典の中の謡曲の役割 ―卒塔婆小町の一句の一例― (5.3 MB)
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| Item type | 会議発表論文 / Conference Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2016-10-13 | |||||
| タイトル | ||||||
| タイトル | 研究発表 現代人の感覚を呼び戻す古典の中の謡曲の役割 ―卒塔婆小町の一句の一例― | |||||
| タイトル | ||||||
| タイトル | The Role of Youkyoku in Intellectual Enrichment Through the Classics\nAn Example from Komachi-mono | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_5794 | |||||
| 資源タイプ | conference paper | |||||
| ID登録 | ||||||
| ID登録 | 10.24619/00002696 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
Zdenka, Švarcová
× Zdenka, Švarcová× Zdenka, ŠVARCOVÁ |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | People gathering to sing Noh utai is one way for people to directly enrich themselves through the classics (in this case, Youkyoku). It goes without saying that the Noh performer who has already learned his art is enriching himself, and while making a strong impression on his audience also increases their level of intellectual enrichment. In this way it is clear that the audience, while being moved by beautiful performances, are gaining a higher appreciation for them. For those who only read Youkyoku, a gap is formed in this “indirect” space. The Noh performer brings the play to life in the different environments of each performance, making it possible for the performer and audience to directly influence one another. In contrast, when a translator deals with Youkyoku as a special kind of text, there is indirect influence between him and the reader. As a result the limitations from using mere words to capture form and contents, function and sense while remaining true to the original’s meaning and significance can secure only a portion (perhaps a tenth) of Noh's beauty. Yet, even from this, it is possible for the translator and reader to experience a special form of enrichment outside of pleasure and enjoyment. For example, taking a mere two lines from Sotoba Komachi, thought to be the work of Kan-ami, and analyze them based on the groups of concepts similar to those suggested above (form and contents, function and sense, meaning and significance), it is possible to find not only beauty and depths, liveliness and fulfillment, but also precision and responsibility. The shite in the roll of an old woman (Komachi) appears on stage and sings “Mi ha ukikusa o sasou mizu, Mi ha ukikusa o sasou mizu”, a variation on the poem by Komachi: “Wabinureba, Mi o ukikusa no ne o taete, Sasou mizu araba inamu to zo omou”. The familiar 7-5 rhythm, the reverberation of a wellknown poem, the tension between the poem and the two lines of the Youkyoku, the old woman's sadness represented by the floating grass, the dark image of a 9th century lady now aged, and the impression of the “tempting (moving) water” representing the fate of the old woman near death all go to prove the greatness of this short passage. |
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| 書誌情報 |
国際日本文学研究集会会議録 en : PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE 号 28, p. 131-138, 発行日 2005-03-01 |
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| 出版者 | ||||||
| 出版者 | 国文学研究資料館 | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 0387-7280 | |||||
| フォーマット | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | ||||||
