@article{oai:kokubunken.repo.nii.ac.jp:00003607,
 author = {張, 培華 and ZHANG, Peihua},
 issue = {44},
 journal = {国文学研究資料館紀要 文学研究篇, The Bulletin of The National Institure of Japanese Literature ,Japanese Literature},
 month = {Mar},
 note = {pdf, 清少納言と紫式部では漢字・漢語の使い方が異なる。例えば、小さい虫の蚊は、膨大な『源氏物語』には見えないが、『枕草子』において蚊は二箇所ある。一つは、「にくきもの」の章段の「蚊の細声」である。もう一つは、「大蔵卿ばかり耳とき人はなし」の章段の「蚊の睫」である。清少納言の面白さが見える。蚊の細声は憎らしいが、大蔵卿の耳は素晴らしい。なぜなら、極めて細い蚊の睫が落ちることが聞こえるからである。これは清少納言の独特な発想と言えよう。本稿では、漢詩文受容の視点から、清少納言の蚊に対する「細い」の表現は、実に白居易と元稹の詩的な形象と一致していることを明らかにした。

Sei Shōnagon and Murasaki Shikibu differ in regards to the precise manner in which they employ Sinitic logographs and Sinitic expressions. For example, while in Shikubu’s great The Tale of Genji we do not see even one mention of mosquitoes, Shōnagon, in her The Pillow Book, mentions mosquitoes twice: she speaks of the buzzing of mosquitoes (ka no hosogoe) is mentioned in the entry entitled "Detestable things," while the eyelashes of mosquitoes (ka no matsuge) are mentioned in the entry entitled "There is no one as quick-eared as the minister of the treasury." Shōnagon reveals her own brand of humor. The mosquito is, to be sure, a detestable thing. At the same time, the ears of the minister of the treasury are truly remarkable insofar as they are able to pick up the sound of a mosquito’s eyelash falling to the ground. While this imagery is unique in the world of Japanese literature, and seems to be of Shōnagon’s own invention, this article argues that her description of mosquitoes as creatures with minute (hosoi ) voices was, in fact, influenced by the poetry of Bai Juyi and Yuan Zhen.},
 pages = {157--181},
 title = {『枕草子』における白居易と元稹の詩的な形象　――「蚊の細声」と「蚊の睫」を中心に――},
 year = {2018},
 yomi = {チャン, ペイホア}
}