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研究発表 鶴屋南北の合巻
https://doi.org/10.24619/00003681
https://doi.org/10.24619/0000368161a66d49-24ec-4f34-a6c3-428a4d8cb9d5
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
研究発表 鶴屋南北の合巻 (3.0 MB)
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| Item type | 会議発表論文 / Conference Paper(1) | |||||
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| 公開日 | 2016-06-08 | |||||
| タイトル | ||||||
| タイトル | 研究発表 鶴屋南北の合巻 | |||||
| タイトル | ||||||
| タイトル | The Bound Books of Tsuruya Nanboku | |||||
| 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 | 10.24619/00003681 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
片, 龍雨
× 片, 龍雨× PYUN, Yongwoo |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | The fourth Tsuruya Nanboku, a kabuki playwright, also tried his hand at making bound books（gōkan）. Traditionally, the reason for Nanboku writing bound books was attributed to the situation of publishing at the time — such as the banning of full-color prints, resulting in the ceased publication of actor picture books （yakusha ehon）— as well as Nanboku’s local ties to publisher Igaya Kanemon. The publication of Kataki Uchi Noriai Banashi（Bunka 5）, Kataki Uchi Koko Wa Takasago（Bunka 6）, and Koi Nyōbō Adauchi Sugoroku（Bunka 9） from Bunka 5 to Bunka 9 （1808-1812） under the penname“ Uba Jōsuke” is thought to be heavily related to circumstances on the publisher’s side. Once original copies of the Tokiwazu-bushi could no longer be published after the death of the second Tokiwazu Mojitayū, Igaya Kanemon began relationships with people like Santō Kyōden and Santō Kyōzan, and in turn published multiple bound books and textbooks. Kanemon certainly also had connections to people in the kabuki sphere, thus there is a possibility that he may have recommended the writing of bound books to Nanboku. As for Nanboku, who faced difficulty in trying to become a main playwright, the composition of bound books was probably appealing, as it allowed one to freely construct ideas by oneself. Nanboku suspended his publication of bound books in 1812, but resumed publication under the name“ Nanboku Monjinkitō” from 1822 （Bunsei 5）, and then under the name“ Tsuruya Nanboku” from 1826 （Bunsei 9）. The reason for this is likely because of Nanboku’s two grandsons: Nanboku Magotarō and Katsuta Kigaku. From 1822, Magotarō began training under Nanboku to become a writer of kyōgen. “Nanboku Monjinkitō” is believed to be Magotarō. Additionally, Kigaku often painted pictures from the time he was a child. In the bound books produced by Nanboku during the Bunsei period, Kigaku’s pictures can occasionally be found in the painted screens illustrated within. Nanboku may have been thinking to make Kigaku a painter in the future. Kaidan Iwakura Man’nojō（1828） and Kaidan Narumi Shibori（1831） are believed to have been published in part because of the success of Tōkaidō Yotsuya Kaidan（1825）. However, within these two bound books, we can see the direct influence of Yotsuya Zōtan—a fictional novel written in the style of a true story—and textbook Kanzen Tsuneyo Monogatari（1806）, and as such, they are slightly different from Tōkaidō Yotsuya Kaidan, in which actors are primarily dramatized. |
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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 38, p. 114 (109)-94 (129), 発行日 2015-03-31 |
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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 | ||||||
