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研究発表 漱石流の写生文 ―漢詩世界の趣―
https://doi.org/10.24619/00002769
https://doi.org/10.24619/00002769ba4d183a-3674-4ded-a04c-08c3f21eb19c
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
研究発表 漱石流の写生文 ―漢詩世界の趣― (12.5 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 漱石流の写生文 ―漢詩世界の趣― | |||||
| タイトル | ||||||
| タイトル | Shaseibun (Sketch-from-life-prose) in Souseki's Style\n―Effect of Chinese poetry | |||||
| 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 | 10.24619/00002769 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
范, 淑文
× 范, 淑文× FAN, Shuwen |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | It is obvious that shaseibun started from the point where MASAOKA Shiki declared the manner which says “you describe things just as they are, and write what you just see”. Letters from London written like a diary by Souseki, who stayed there at that time, was the response of the movement of this shaseibun. And these letters delighted Shiki a lot. Later, Souseki himself announced the definition of shaseibun through comments and so on. The process that Shiki began the technique of shaseibun, such as he inspired by NAKAMURA Fusetsu, a famous Western-style painter in those days, and he applied that sketching technique to his creation in literature etc., is written in his Bokujuu-itteki (A Drop of India Ink). It also became clear by MATSUI Takako’s research that the very source of this manner was Antonio Fontanesi, a first Italian painter invited to Japan as a master of the Westem-style painting. It is necessary to examine whether Souseki’s shaseibun is the same quality as Shiki’s, even though Shiki accepted Letters from London as shaseibun, and even though KAJIKI Gou considered the later works like Wagahai wa Neko de aru (I Am a Cat) or Koujin (The Wayfarer) to be the same. Souseki discussed in detail the attitude that should face to the creation of shaseibun by an article entitled Shaseibun. He also commented that “the attitude of that is Oriental and is very interesting” in the article about Shaseibun which appeared on the newspaper Kokumin Shinbun in 1907. Originally Shiki learned shasei from the technique of Western-style painting, however it is significant that Souseki recognized it as ‘Oriental’. In this presentation, being based on MATSUl’s study, and comparing shaseibun with the structure of Kusamakura (The Three-cornered World) written at the time when that style was praised, I would like to approach the following points; How is the substance of Souseki’s so-called shaseibun related with the Chinese poem that he was very fond of? And what is the essence of his ideal shaseibun? |
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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 32, p. 133-148, 発行日 2009-03-31 |
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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 | |||||
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| 内容記述タイプ | Other | |||||
| 内容記述 | ||||||
