@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002929,
 author = {園山, 千里 and SONOYAMA, Senri},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {35},
 month = {Mar},
 note = {pdf, We may say that the history of Japanese literature started from ‘uta’ and clearly there is a strong relation between waka and Japanese literature and culture. Waka is the way of expression which is an important function not only for cyokusensyū and shikashū but also for monogatari and diaries. What kinds of elements were added by waka when monogatari and diaries adopted it? I would like to consider the ‘occasion’ when waka is read through the examination of the waka in ‘Ochikubo-monogatari’. There are seventy-two waka in ‘Ochikubo-monogatari’ in total. The story is developed by zōtōka (exchange waka) between Michiyori and onna-gimi in volume one and two of the ‘Ochikubo-monogatari’ but after these two volumes, their exchange of waka disappears and meanwhile, many waka of Michiyori and other characters appear except onna-gimi’s. The relation between this situation in which waka is not exchanged and the special situation after volume three will be examined.
Vol. three is the volume in which Michiyori’s tenacious revenge on the cyūnagon family finishes and he becomes filial to the cyūnagon. Firstly, Michiyori holds a hōe (Buddhist service) called sanga hokke-hakko wishing for chyūnagon’s longevity. I have already given a presentation on the meaning of holding a Buddhist service hokke-hakkō as one of the tokens of a person’s gratitude, under the title of ‘The hōe in Ochikubo-monogatari’ in October 2010 at the Chūko Bungaku-kai Shūki Taikai. Developing the theme of the presentation, I am going to examine the relation between waka and the ‘occasion’ of hokke-hakkō through the analysis of waka in ‘Ochikubo-monogatari'.},
 pages = {165--176},
 publisher = {国文学研究資料館},
 title = {研究発表　『落窪物語』の和歌　―法華八講との関連から―},
 year = {2012},
 yomi = {ソノヤマ, センリ}
}