近世文藝

『戒殺物語・放生物語』における孫思邈と陶弘景

―善書との関係をめぐって―

伊丹

2024 年 119 巻 p. 1-14
発行日: 2024年
公開日: 2024/07/31

DOIhttps://doi.org/10.20815/kinseibungei.119.0_1

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Volume 4 of Kaisetsu-monogatari Hōjō-monogatari (1664), considered the work of Asai-Ryōi, features a story of how Sun-Simiao (J. Son Shibaku) helped a snake from a herder, and was invited to the Dragon Palace and received the transmission of immortal techniques for saving people, as well as a story of how Tao-Hongjing (J. Tō Kōkei), having heard from his disciple Huan-Kai (J. Kan Gai) that since he used living creatures in medicine he could not rise to heaven, he changed the medicinal substances in his medical texts, which enabled his eventual ascent to heaven. These stories cannot be found in the official biographies of these two individuals, and while previous research suggests sources such as Zhu-Hong’s “Jiesha-Fangsheng-wen” and Taiping-guangji, scope remains for further investigation. This paper organized and comprehends the narratives related to Sun-Simiao and Tao-Hongjing, grasped facts about their creation, and then revealed their connection with morality books. It also focused on the stories in question in Kaisetsu-monogatari Hōjō-monogatari, and indicated a connection with one of the morality books, Diji-lu. Lastly, it considered the reasons why Tao-Hongjing’s story, absent in “Jiesha-Fangsheng-wen”, was used in Kaisetsu-monogatari Hōjō-monogatari under the same title as Sun-Simiao’s story.

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百首歌・題詠・画中歌・絵入本のＴＥＩマークアップの試み

―天和三年刊・菱川師宣画『絵入藤川百首』を例として―

幾浦裕之

2024 年 119 巻 p. 15-28
発行日: 2024年
公開日: 2024/07/31

DOIhttps://doi.org/10.20815/kinseibungei.119.0_15

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In this paper I show necessities and advantages for researchers of Japanese classical literature to work on digitization of transcription and online publication adopting XML data based on Text Encoding Initiative. As a case study for applying TEI to transcription of Japanese Literature, I selected an illustrated edition of woodblock printed book printed in the Edo period of Fujikawa-Hyakushu, one hundred poem sequence forged under the name of Fujiwara-no-Teika. TEI is a consortium which collectively develops and maintains a standard for the representation of texts in digital form. It is also available for Researchers of Japanese classical literature to standardize the format of transcription publication on the web. Transcription in digital text based on TEI enable us to describe the wealth information of Japanese classical texts and its historical interaction between other texts including bibliographical metadata, notes written in the margin by readers, topical expression in Waka poetry without physical constraints due to limitation of space. Conventional transcription has been published for experts and expected to read even the unwritten information. Transcription as TEI/XML data facilitate visualizing the meaning of the text for a general audience. Posting the links between the images published in the digital archive and the transcribed text for ensuring verifiability of transcription would contribute to application to research of illustrated books in the future. Accordingly, TEI can be effectively utilized when we build a system of database in which we could cross search beyond the boundaries of genre, users of database can also become contributors as participating to transcribe new text for the database.

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『猿蓑』発句部の再検討

佐藤勝明

2024 年 119 巻 p. 29-41
発行日: 2024年
公開日: 2024/07/31

DOIhttps://doi.org/10.20815/kinseibungei.119.0_29

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Sarumino (published in the seventh month of Genroku 4 [1691]), edited by Kyorai and Bonchō, is known and highly acclaimed as a collection to which Basho made extensive contribution. On reading the first volume, the collection of hokku, I have a sense that its greatest characteristic lies in the ingenuity of its arrangement (“tsuzuki” derived from “moyō” [pattern by continuation] as in “Haikai Senshū-hō” (Rules of Haikai Collection) of Uda-no-hōshi). However, that has gone almost unrecognized in research to date. There has been a tendency to associate it with its unusual categorization of “winter, summer, autumn, spring”, and to discuss elements such as the final form of “sabi” in the winter category, and the trend for “karumi” in the spring category. This paper, however, gives specific examples from the collection of hokku in Sarumino, to reveal how it has been edited with focus on its arrangement. It also advocates the importance of disregarding whether it is winter or spring, moving away from the terminology with no fixed definition such as “sabi” and “karumi”, and carefully reading the sequence of the verse itself.

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大坂出版史における絵入根本

北川博子

2024 年 119 巻 p. 43-56
発行日: 2024年
公開日: 2024/07/31

DOIhttps://doi.org/10.20815/kinseibungei.119.0_43

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“Nehon” in Early Modern Osaka included stage writings, stage directions and speeches; they were, in other words, Kabuki play scripts. Playscripts, essentially for theatre internal use only, were copied out and disseminated by book lenders. Frontispieces and illustrations were added, resulting in the publication of “e-iri nehon”. Led by Osaka publisher Kawachiya Tasuke, from 1802, they became regularly published works for sale, as a rule, on the 2nd day of the New Year. However, there are various extant e-iri nehon whose colophons do not give a date of publication, or whose colophons are missing, or where the colophon for the first printing remains unchanged in a later printing, etc. Since it is hard to tell a first printing from a later printing, there are many works for which the NIJL Pre-Modern Japanese book database gives the year of publication as unknown, or gives an incorrect year of publication. This paper has surveyed and analysed the publisher information, advertisements and publication lists in ei-ri nehon from their beginning into the Meiji period, and collated them with entries in Osaka Honya Nakama Kiroku (Osaka Publishers’ Guild Record). The e-iri nehon discovered to date appear in the “E-iri nehon List” appended to the end of the paper, which has clarified their year of publication, title, illustrator and publisher.

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シンポジウム「没後二百年　大田南畝を語る」報告

福田安典, 久保田啓一, 宮崎修多, 宮内淳子, 小林ふみ子, 宮本祐規子

2024 年 119 巻 p. 57-69
発行日: 2024年
公開日: 2024/07/31

DOIhttps://doi.org/10.20815/kinseibungei.119.0_57

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シンポジウム「没後二百年　大田南畝を語る」傍聴記

田中則雄

2024 年 119 巻 p. 71-76
発行日: 2024年
公開日: 2024/07/31

DOIhttps://doi.org/10.20815/kinseibungei.119.0_71

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