@article{oai:kokubunken.repo.nii.ac.jp:00000608,
 author = {江戸, 英雄 and EDO, Hideo},
 issue = {26},
 journal = {国文学研究資料館紀要, The Bulletin of The National Institute of Japanese Literature},
 month = {Mar},
 note = {『うつほ物語』の成立には漢文学の素地が不可欠であったことを、物語のなん風と漢文学の南風とを関わらせながら論じた。例えば、「吹上下」巻の神泉苑の紅葉賀で弾かれたなん風を、『千載佳句』などに見える南風、則ち公宴で奏でられる音楽を帝徳賛美の文脈の中で誉め讃える南風と同様のものと見ることで、才の徳によって宮廷社会の中で栄誉を獲得していく仲忠の物語がはっきりと立ち現れる。また、南風本来の意義、琴を作り南風を歌って天下が治まる、ということに立ち戻ってみると、なん風の物語が「内侍督」から「蔵開」以降の巻々にかけて相対化されていく、則ち琴の演奏による天変地異が否定的に語られていく背景が明瞭になる。これを南風の表現史として見ると、前半部で聖代賛美の意味合いを持ち、後半部でそれが相対化される物語のなん風もまた、『本朝麗藻』所収の一条天皇の南風をうたった詩へと続いていく、表現史の一過程に位置づけることができる。

 This paper discusses that the foundation of the Chinese classical literature was indispensable for the creation of “Utuhomonogatari”（うつほ物語） while letting a story “Nanpu”（なん風） concern with Chinese classical literature “Nanfu”（南風）. For example, by considering that it assume to be the same Nanpu（なん風） which was played at Momijinoga in Shinsen-en in the volume of “Fukiage-no-ge”（吹上下） as Nanfu（南風） in “Senzaikaku”（千載佳句）, in other words, which applauded the music played in the Court banquet in context of the Imperial virtue praise, a story of Nakatada who was winning laurels in the Imperial society by his talent and virtue　appeared clearly. Back to the original meanings of Nanfu －the background where a story of Nanfu was brought relativization from “Naijitoku”（内侍督） to “Kurabiraki” （蔵開）and after, namely by the performance of the Koto was talked unfavorably about the convulsion of nature becomes clear. Considering this as an expression history, it has a meaning of praise of the glorious reign in the former half. Nanpu which was also a story  brought relativization in the latter half to be able to be thought a process of an expression history that leads to a poem of Emperor Ichijo in “Honchoreiso”（本朝麗藻） about Nanfu.},
 pages = {1--28},
 title = {なん風の琴 ―『うつほ物語』と漢文学},
 year = {2000},
 yomi = {エド, ヒデオ}
}