WEKO3
アイテム
研究発表 連歌百韻の注釈・翻訳への提言―「切れ」と「付け」をどう表すか―
https://doi.org/10.24619/00004050
https://doi.org/10.24619/0000405067d16e2f-79c7-4a35-b5b3-b7fd8bc13ddd
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
研究発表 連歌百韻の注釈・翻訳への提言―「切れ」と「付け」をどう表すか― (941.7 kB)
|
.png)
|
| Item type | 会議発表論文 / Conference Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2020-05-19 | |||||
| タイトル | ||||||
| タイトル | 研究発表 連歌百韻の注釈・翻訳への提言―「切れ」と「付け」をどう表すか― | |||||
| タイトル | ||||||
| タイトル | Suggestions for Commentaries and Translations of Hundred-verse Renga Sequences: How to Express Their Independency and Linking | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 連歌 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 水無瀬三吟 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 付合 | |||||
| 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 | 10.24619/00004050 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
生田, 慶穂
× 生田, 慶穂× IKUTA, Yoshiho |
|||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Renga （連歌） is a genre of collaborative poetic composition that became popular in Japan over the course of the medieval period. Originating from waka, it gave rise in turn to haikai and haiku. Yet while haikai has survived as renku up to the present, renga itself came to an end during the Meiji period. People lost the basic knowledge necessary for composing and appreciating hundred-verse renga sequences. Nonetheless, it can be said that renga researchers made a fresh start in the twentieth century and managed to rebuild this lost foundation. Nowadays, several commentaries on renga sequences are available, and even a selection of translations into English. However, not all of these are written in the same format, which might create confusion for readers. In this presentation, a number of suggestions on renga commentaries and translations will be offered, with the hope of making both of them more accessible for modern readers. Existing commentaries and translations tend to focus on the linking （tsuke 付け） that takes place between pairs of verses composed each by different poets. More specifically, they mostly explain the connections that bind the first and second verses, the second and third verses, and so on. It is essential to remember that the linking between any two verses is based on each verse’s independence （kire 切 れ）. For instance, when one tried to compose the third verse, the first step would be to consider the set of the first and second verses separately, after which one could then look at the second verse alone. It seems that participants processed the renga sequence at a given session like this: （1） The first verse （ 2） The first and second verses （ 3） The second verse （ 4） The second and third verses … etc. In short, each verse would have triple contexts （excepting the first verse and the final hundredth）. In spite of this, the problem is that existing commentaries and translations do not have a uniform standard for which of these contexts they undertake to address, or for the order to be followed when trying to address multiple contexts. Here we should learn more from medieval renga commentaries written for beginners. According to previous research, these earlier texts’ manner of focusing on the context of each individual verse enables readers to re-experience the session （Asai, 2018）. It also seems that both making clear the independence of each verse and at the same time constructing solid links between them demanded high levels of skill （Ikuta, 2018）. Taking those points carefully, I will discuss a new format for renga commentaries and translations, one which can indicate the process of an actual session as well as the many contexts of each constituent verse. Works Cited: Asai, M. （2018）. “Renga kochūshaku to tsukeai gakushū: ‘Ikku’ ni chūmoku saseru to iu koto” ［Old Renga Commentaries and Learning How to Link: The Meaning of Focusing Attention on ‘The Individual Verse’］ . Chūsei bungaku 63: 88－97. Ikuta, Y. （2018）. “‘Nokedokoro’ ni miru renga hyakuin no yukiyō to kōsei ishiki: Yoshimoto to Sōgi wo hikaku shite” ［Flow and Structure in HundredVerse Renga Sequences as Seen from ‘Pivot-points’: A Comparison between Yoshimoto and Sōgi］ . Chūsei bungaku 63: 98－107. |
|||||
| 書誌情報 |
第４３回 国際日本文学研究集会会議録 en : PROCEEDINGS OF THE 43rd INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE 号 43, p. 45-60, 発行日 2020-03-26 |
|||||
| 出版者 | ||||||
| 出版者 | 人間文化研究機構 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 | ||||||
