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研究発表 1940年代文学研究の基底 ―『迷路』を座標軸としてたどる能楽界の戦中期―
https://doi.org/10.24619/00002752
https://doi.org/10.24619/00002752bbfb0144-ba1e-47b9-8b87-4a245033f8f3
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
研究発表 1940年代文学研究の基底 ―『迷路』を座標軸としてたどる能楽界の戦中期― (31.9 MB)
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| Item type | 会議発表論文 / Conference Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2016-11-18 | |||||
| タイトル | ||||||
| タイトル | 研究発表 1940年代文学研究の基底 ―『迷路』を座標軸としてたどる能楽界の戦中期― | |||||
| タイトル | ||||||
| タイトル | A Base for Research on Literature from the 1940s\n―The Noh Theater during the War using Meiro as a Axis | |||||
| 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 | 10.24619/00002752 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
棚町, 知彌
× 棚町, 知彌× TANAMACHI, Tomoya |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | “Bring close the lamp, writing home, a letter that again erases the lake” From 1944 to 1945, Tanamachi became the youngest to have received a full year course in Imperial army education. From Hangzhou to Shanghai to Tokyo, this song was undoubtedly the one sung most often during this year as a soldier. The bestsellers of the time, Hino Ashihei’s Mugi to Heitai and the other soldier trilogy book, were less about war than “letters” to “home”. The highlight of the last part of Meiro is “Mariko’s letter”, and the peak from the mid story to the ending is “Shingo’s diary”. Meiro itself is Sugano Shōzō’s diary. From the latter half of the 1930s to the first half of the 1940s, when Jazz and dance were put under pressure, Noh received a clear boost as being “good for the nation” and “reviving the past”. When the Bunraku play “Nikudan Sanyūshi” was performed, Kōgunkan, Chūrei and other new Noh plays were being made, but few are remembered today. Did war times begin after the early Showa “Taisho liberalism” and at the foundation year “2600”, Showa 15 (1940)? The so-called student deployment generation were crazy about the “orchestra girl” Margaret O’Brien, and the line wrapping seven and a half times around Rikōran was something that happened while they were in middle school. The pre-war Gone with the Wind hadn’t been seen by many Japanese; people in captured territories and a few individuals within Japan had seen it, but GHQ did not allow the Japanese to see it even as it saw its peak in fame in the US. The America of Gone with the Wind was the America of Hiroshima and Nagasaki, wasn’t it? |
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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 31, p. 159-202, 発行日 2008-03-31 |
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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 | ||||||
