What on earth do you think being invisible on stage is like? In this thesis, writer is going to discuss a theatrical work titled "Takarazuka Revue Company Moon Troup Performance "The Floating Bride of Dreams", from two view points such as issues incurred by putting a work of classic literature on stage and how the dramatized work was accepted and appreciated. Dramatization of the Tale of Genji has particularly been enjoying a longer history than so many other works of classic literature and is with variety of facets. "The Floating Bridge of Dreams" picked up here is a piece of work based on the Ten Uji chapters of the Tale of Genji and has Niou no Miya as the leading actress. Needless to say, this particular play was caught up under the restriction given by the "Takarazuka Revue". This thesis employed the first princess of the fourth Emperor who plays an important role both in the story and in the play, with a view to discuss significance of invisibility on the stage, in the light of characteristic features of the "Takarazuka Revue". Thus, the writer discussed the matter of putting the work of classic literature on the stage and proceeded to cover the issue of imaging, having been developed from dramatization.

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Sociologists have a tendency to look at originality of work/s and creativity of author/s from a unhistorical and nonsocial view point respecting the above, or try to look at something invisible. On reconsidering this matter, sociology should present its own understanding on the work/s or something visible. What writer is trying to present here is an investigation of social action that keeps the work/s and the author/s in the original stage or in so-called "world of Symbol". Here, questions such as "What is Symbol?" and "What is society?" a rise. This paper is consisting of three parts. The first part summarizes a sociological point of view to "narrative", symbolic object. The second part follows Cassirer's crucial shift from substance to function, shift, which he articulates in order to open up new access to a universal philosophy of cultural science. The third part introduces Bourdieu's construction of logic, as his sociological theory of symbolic power refers to Cassirer's Symbolic form. Lastly, those matters lead to the sociological approach, in which Symbolic Forms are considered not only as social function but as the autonomous existence working to social system.

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This thesis is going to discuss "story" and "invisibility", from the view point of building up a methodology for comparison research between literature and category of art, especially motion picture which is a different medium from literature. Motion picture is a text being composed of audio and visual but when it is reduced to "contents of story", texture of motion picture's text turns out to be invisible. The invisibility invited by the system of story telling, is inherent to the motion picture. The system is generally built by the editing system being controlled by relay of line of vision and stereotyped narrative structure. What those researchers of motion picture are working to make the texture visible, in some sense, resembles to what the literature scholars do to the text of literature. Namely, by coupling with intertextuality of audio and visual, it is an analysis to analyze (or to release from restriction of narrative and ideology) texture of pieces of film. Writer is going to make a comparison against text of literature by analyzing several motion pictures as text with the method as mentioned above.

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Ukifune, the last heroine of the Tale of Genji, wept repeatedly taking a look at the painting Niou no Miya painted and presented to her, while being loved by two men, namely Kaoru and Niou no Miya. She drowned herself immediately after that. The Kiritsubo Emperor was the very first person who wept looking at a painting in the Tale of Genji. It can, therefore, be pointed out that a composition of weeping at the sight of paintings is repeatedly employed in the first and the last love stories of the Tale of Genji. In this instance, the painting is described as a substitution for the lost beloved of the men, along with the reference to a substitute doll and Chang hen ge or a Song of Unending Sorrow aka Chougonka. That implies dynamics of the invisible is wound up and deployed in the Ukifune Story. In the chapter covering the act of Ukifune who made an appearance as a substitute doll, wept at the sight of the painting and left the mansion, again highlighted deception of those men continuingly chase after substitution for the loss. Moreover, the Tale of Genji which is symbolizing the desire of the woman in a depressed form and let her pass through the ritual of death, put Ukifune to face with her own desire. This was the newest and an important turning point of history of the Monogatari Literature.

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From Tadanori's death in the Battle of Ichi no Tani (Tadanori's death in volume #9 of the Tale of Heike) and his flight from Kyoto (Tadanori's flight in volume #7), writer will investigae Tadanori as a dead person (as a latent existence recurring to the close relatives in an unreal form). Let "Tadanori" and "Shunzei/Tadanori" of Youkyoku intervene in reading the Tale of the Heike. In both of "Tadanori" and "Syunzei/Tadanori", for Fujiwara no Syunzei had placed Tadanori's waka in the Senzai Wakashuu as author unknown, Tadanori held a grudge and so turned out to a vengeful ghost. However, in case of "Shunzei/Tadanori" having been composed later than Zeami's work of "Tadanori", Shunzei was cast as tsure and waki was Rokuyata who had fought against Tadanori and felled him. As compared to the Noh play scene of carnage, shite of Tadanori altered form to be in such an order like Rokuyata, narrator (a Noh chorus) and a cherry tree, in case of "Tadanori", masterpiece by Zeami. A treatment like this can be called as an achievement of Polyphonic Narrative of Youkyoku but it opposes to Tadanori's comment of "No regret was left." in the volume #7 of "Tadanori's flight from Kyoto" of the Tale of Heike. Writer would like to discuss combining an analysis of the Polyphonic Narrative of the Tale of Heike which narrates the deceased from an angle different from Youkyoku inwith the narrative of Youkyoku and put those two together with intertextuality. The writer will then, try to capture possibility of accepting Tadanori's figure becoming a vengeful ghost as well as possibility of Tadanori floating in the air as unidentified apparition and think about Tadanori leaving far away from the system (or story) the principal is trying to build up.

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In 1980s, Consumerism was prevailing in Japan. This brought about a tendency of looking at oneself as a special existence and to think that seeking personal pleasure is more sophisticated than trying to reform the society. These changes strengthened the influence of "OLIVE", which is one of the most popular magazines in 80s, and created the boom of French Theory. Monogatari Kenkyukai, or the Association of Narratology aka Monoken, introduced Textual Analysis as one of the methods to criticize the main stream of academic investigation in the early 70s. But, as with the development of consumer society in 80s, the role of Textual Analysis made a change to provide excuses to cover up the fault of one's own reading. It turned out to be impossible for Monoken to monitor overdoing on the establishment side, as few members of this association could realize that the changes had taken place. Nowadays, study of Japanese Literature has begun to collapse as a system. We, the members of Monoken, should reconsider the meaning of Textual Analysis for rebuilding the narratology up in Japan.

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Tale of the Lady Ochikubo, recognized as having been worked out in the middle of the Heian period, is story of a step child where presence of the princess was less significant and was not so deeply involved in development of the story. If existences of those equivalents to princess are included, enough attention will be paid to existence of the Lady Ochikubo who is the heroine of the story. The way she was abused by her stepmother due to the fact that she was a princess coming from the Emperor's family, turned out to invite interest of Michiyori, the hero of the story, and the story began from there. In addition, Michiyori having been expressed as "tremendously sensual existence" said "I will definitely decline, even if marriage with an Emperor's daughter was proposed to me." He had gone through with a change to be a man who declines marriage with a princess and swore firmly to live with sole wife, even going beyond the bounds of socially accepted idea. In the early stage, however, Michiyori's speculation was not less determined. Then, a question becomes where and when transformation of value took place. Presumably, waka came to be involved in the process, there, then. In this thesis, writer tracked back waka's function, making it possible to transform the value which repositioned the stepchild having been demoted to be a hired servant in spite of being of royal blood to become a nobler figure than Princess endowed with supreme social existence.

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An expression at the end of a sentence like "kakitari/kakitamaeri" was not employed in "the Tale of Taketori" and "the Tales of Ise". "kakitari" and "kakitamaeri" are making relatively frequent appearances in the Tale of Genji as the expression at the end of a sentence and are obviously different from "kaku" and "kakitamau" in grammatical functions. In general, a sentence ,of which "tari" or "ri" is connected at the end means not acts but a particular situation and the time running in the story makes a stop once at that point. An act of "kaku" or to write a letter or poem makes a new appearance of a letter or Waka as a literary device. Furthermore, in the cases of "kakitari" and "kakitamaeri", those two expressions are so made to serve as a means to connect the different time space where each character in letter or poem exists. "tari" or "ri" which has " kaku" as something similar to prefix is an expression used to connect mutual time space of characters, when employed at the end of a sentence. A strong conscious of the narrator is working to connect the characters here, in such cases as mentioned above. I think that those expressions at the end of a sentence indicate activities of the narrator who is not impersonal.

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It is generally recognized that Yuhgiri came to love Tamakazura in the Fujibakama Chapter was based on realization that Yuhgiri and Tamakazura were not a real brother and a sister. But in reality, the very misunderstanding that they were a brother and a sister caused them to love each other and presumably gave an influence to the Fujibakama Chapter. In the Nowaki Chapter, Yuhgiri witnessed Hikaru Genji, her father, was philandering with Tamakazura, whom Yuhgiri believed to be a daughter of Hikaru Genji. Yuhgiri, however, was positive of the abnormal behavior of father and daughter. In other words, Yuhgiri came to fell in love with Tamakazura whom she believed to be an elder sister, having been ignited by incest among father and a daughter. Yuhgiri had fictitious image on Tamakazura, elder sister, and was led to have an incest kind of desire on her. Yuhgiri was always required to play the role of a person who lacks flexibility and interest in the opposite sex but in the Fujibakama Chapter Yuhgiri was making an attempt to avoid playing that role. Yuhgiri, pretending to be a person lacking flexibility and interest in the opposite sex, tried to surpass her father, Hikaru Genji, by giving her love to Tamakazura, elder sister.

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In the Tale of Genji, adultery between a man and a woman was treated and elaborated as the major theme. In particular, the adultery committed between Hikaru Genji and Fujitsubo in the first part and the same between Kashiwagi and Onna Sannomiya, third Princess of the Suzaku Emperor in the second part were directly linked by the Buddhism ethics and can be, hereby, discussed as the major issue in the principal part of the story. In this thesis, with regards to the adulteries between Hikaru Genji and Fujitsubo and Kashiwagi and Onna Sannomiya, writer analyzed how each party's sentiment and sense of guilt were expressed through focusing the attention on the two words, namely "Osoroshi" and "Ohokenashi". The story distinguishes the sense of guilt for the adultery by employing the word "Osoroshi" for Genji and "Ohokenashi" for Kashiwagi, and tries to express the difference of sense of guilt. This thesis specifically investigates the details along with the development of the story and discusses how the differences are related to the context of the story itself.

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As is widely recognized, old legends represented by the Legacy of Ubara Otome are giving the major influences to the Ukifune Story. The Legacy of Ubara Otome was composed as the Japanese poem, waka, by such poets like Tanabe no Fukumaro, Takahashi no Mushimaro and Otomo no Yakamochi. Among the three poets, only Takahashi no Mushimaro was characterizing his poem by closing father's absence up. There were many issues in the background of Mushimaro's waka, such as parents having made no conscious attempt to stop their maiden daughter's committing a suicide, which had long been generally inviting the attention of all concerned. In this writing, the writer tried to verify the issues regarding the mother and the daughter, which were drawn on by paying an attention on the issues in the Legacy of Ubara Otome to start with, and focusing on the Chinese classical literature having assisted to creating the world of the Legacy of Ubara Otome.

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In this thesis, writer is trying to make a reanalysis of Ukifune from the view point of food. The fact that expression of food is deliberately written in the story of Ukifune means that the Tale of Genji employed the expression of food as one of the methods to develop the story. The writer, therefore, would like to point out that the Tale has found a new way of expression. At the scene of Ukifune's reentry, Buddhist monks in the area completely absorbed in preparing food for entertainment, and so they were unable to take care of half dead Ukifune. Ukifune's ability to survive was expressed in the scene where Ukifune made an attempt to eat the food, regardless of her intention to eat or not. In the scene of Kaoru giving a glimpse, Ukifune closely situated to those who were completely absorbed in food, are described. Food for the wedding ceremony was described on a different occasion. Having been replaced by a younger sister, Ukifune did not share the food for wedding ceremony. Ukifune's aspect of "to eat or not to eat" presents an issue of source of life for human being. That will carry on to the contradictory sense of "desire to be eaten and near being eaten situation" and moves on to the expression of food in the Yume no Ukihashi Chapter, which hints development of future to survive.

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I am going to discuss that the horn "like a dead tree" has a contact point with image of ancient myth, through recognizing Manago as described like a dragon with a dead tree like horn again, by leaving the time frame of the Edo period and extending the spun back to the ancient times. The horn having been described like a dead tree in the chapter of "A Serpent's Lust" was a description used to discuss deer horn in Kojiki and Nihonshoki. Writer believes that connotation of the figure of the dragon with horns of deer, can be construed by confirming the relation between the dragon with horn and the deer. In this thesis, the writer will discuss the points as below. Through studying historical evidence, a question on for what reason a horn grew on dragon's head that was oversight in the chapter of "A Serpent's Lust"; it will be possible to make systematic relation between the dragon and the deer that has long been continuing since the time of Kojiki and Nihonshoki clear. The writer, then, moves on to discuss with what type of intention Akinari put the image of the dragon and the deer on to Manago.

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