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研究発表 馬琴の黄表紙における表象と表現の類型に関する試論
https://doi.org/10.24619/00002726
https://doi.org/10.24619/00002726ba4607f4-057b-45c2-af66-678a5c985841
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
研究発表 馬琴の黄表紙における表象と表現の類型に関する試論 (20.7 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 馬琴の黄表紙における表象と表現の類型に関する試論 | |||||
| タイトル | ||||||
| タイトル | A Tentative Typological Discussion of Expression and Representation in Bakin's Kibyôshi\nExamining the Theatre and Literary Performance in Preparing for his Yomihon | |||||
| 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 | 10.24619/00002726 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
Bering, Kristian
× Bering, Kristian× BERING, Kristian |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | At the present, general awareness of Bakin’s Kibyôshi remains inadequate, and it is believed that a systematic investigation of his development from Kibyôshi to yomihon writer is needed. Previous research has been carried out only partially, often fragmentary or in generalizing manner. This presentation is based on a survey conducted in connection with my upcoming Ph.D. thesis Bakin and the Theatre, investigating the role of the theatre in Bakin’s early work. By analyzing thespian elements and their interrelation with those unrelated to the theatre I have examined typological patterns of modes of expression and representation through comparison of Bakin’s Kibyôshi works, largely classifying them in 6 categories: (la) humorous works occupied with word play showing no theatricality. (lb) Humorous and didactic works using Chinese material and historical sources showing no theatricality. (2) Humorously didactic works showing theatricality. (3a) Theatrical and didactic non-humorous works. (3b) Digest versions of theatre plays. (3c) Theatrical non-humorous works based on ‘true records’ (jitsuroku). Bakin, produced more than 80 Kibyôshi works, and in order to better understand what moves he made since Kansei 3 (1791) in the process of developing the yomihon form, and in order to understand the role he played, I shall attempt to measure his consciousness of novelistic fiction forms. On the basis of his critique of dependency of the kabuki theatre, written in the Bunka era (1804-1817), it is often argued that he never came to terms with administering an appropriate level of influence from the theatre, but I should like to question Bakin’s disingenuos stance. Arguing with a focus on the third category of non-humorous works, I shall point out that we can observe efforts to combine the theatrical with didactic fiction, and as a result of continuous experiments with literary performance of modes of expression and representation, his early works evolve naturally into the mature form of instructional dramatic fiction. Discussing the essence of Bakin’s literature, I propose that the didactic and the theatrical were central to his novelistic consciousness, and I point out the possibility of defining the notion of kanzen chôaku as ethical drama. | |||||
| 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 30, p. 69-93, 発行日 2007-03-30 |
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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 | ||||||
