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Article type: Cover
1994 Volume 43 Issue 7 Pages
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Article type: Cover
1994 Volume 43 Issue 7 Pages
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Article type: Appendix
1994 Volume 43 Issue 7 Pages
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1994 Volume 43 Issue 7 Pages
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Hajime Yamamoto
Article type: Article
1994 Volume 43 Issue 7 Pages
1-9
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Despite its positive value, Yogen, the critical term invented by Fujiwara Shunzei, is not given very frequently to the poems he unconditionally supports. In this paper, I will contemplate the example of Shunzei's critical activity by focusing on his commentary given to Saigyo's Mimosusogawa Utaawase. The examination reveals the uncompromising critical spirit of Shunzei who, seeing that Saigyo's poems attain a distinct originality and a high degree of achievement, whill trespassing the conventions of waka, nevertheless placed Saigyo's poems on the margin of the field of waka, maintaining his own standard.(<Special Issue>Time and Space of Utakotoba(the Language of Songs))
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Tsuneyo Terashima
Article type: Article
1994 Volume 43 Issue 7 Pages
10-19
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What achievement did courtly waka poetry aspire to after the period of Insei? How did a song achieve its unique identity as a creative piece of poetry while fulfilling its function to accompany classical music, an activity rooted in the "space" of production? I have attempted to consider these problems by examining the method of Fujiwara Teika in consideration of the "space" of the poetic work demonstrated in the editing of Sentokudai Gojusshu, a collection of poems based on the exchange between ex-emperor Gotoba and Minister (Sadaijin) Ryokei. In addition, I have speculated on the significance of Teika's practice for the completion of Shinkokinwakashu by consulting his memories written later in the Kenpo period.(<Special Issue>Time and Space of Utakotoba(the Language of Songs))
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Takahiro Sasaki
Article type: Article
1994 Volume 43 Issue 7 Pages
20-30
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This paper attempts to examine the memorial Eigu waka session, hosted by Chokaku, the chief priest of the Tendai school of Buddhism and Nijo no Tsubone, the female servant to exemperor Gotoba, held on the same date as the day of the ex-emperor's death, February 22nd. I will confirm the fact that Chokaku, grandson: to ex-emperor Gotoba, was a waka poet, and that Nijo no Tsubone was the same person as Nishi no Onkata, daughter to Bomon (the priest) Nobukiyo who accompanied Gotoba in Oki, while examining the portrait of Gotoba employed by them. I will discuss the significance and function of the fact that the Eigu for Gotoba was the first Eigu waka session conducted in memory of the dead.(<Special Issue>Time and Space of Utakotoba(the Language of Songs))
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Kakumyo Kanno
Article type: Article
1994 Volume 43 Issue 7 Pages
31-39
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Motoori Norinaga established a new view of waka by separating politics and poetry. But, in historical retrospect, before Norinaga and especially in the Middle Ages, the unity of politics and poetry was the fundamental condition for understanding poetry. One of the persons who embodied this unity best, in terms of theory and actual practice of its expression is Zeami. This paper has attempted to analyze the Noh text Takasago, whose subject directly incorporates the poetic theory, in order to reveal the concrete aspect of the correspondence between political government and poetry.(<Special Issue>Time and Space of Utakotoba(the Language of Songs))
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Kazumoto Nakamura
Article type: Article
1994 Volume 43 Issue 7 Pages
40-48
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What Akinari was intensely aware in such stories as "The Bloody Gown," "A Winged Maiden" and "The Pirate" in Harusame Monogatari are the fatalistic view of life represented by such concepts as fuguhakumei (predestined obscurity and early death) and tenroku (predetermined life-span) and the problem of wakonkansai, or attaining the Chinese knowledge but maintaining the Japanese spiritual virtues. I have argued that the latter problem of wakonkansai, in particular, was distinct from the concept of yamato damashii (the unique nobility of the Japanese national character) that constituted the foundation of the Kokugaku ideology, reflecting Akinari's taste for disinterestedness and distaste for amorous passion; I have also pointed out that out of his personal predilection for disinterestedness, Akinari wrote the story of the man who turns into a pirate, in reaction to the moralistic teaching of Bunshitsu Akitsu, while sharply denouncing Norinaga through his displaced attack on Kino Tsurayuki. I maintain that Akinari uniquely redefined the concept of the Japanese spirit by turning, the conventional definition of fuguhakumei into the state of freedom gained through deviation from conventional behaviors.
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Article type: Appendix
1994 Volume 43 Issue 7 Pages
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Hisashi Kinoshita
Article type: Article
1994 Volume 43 Issue 7 Pages
50-51
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Miyako Yoshii
Article type: Article
1994 Volume 43 Issue 7 Pages
52-56
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Article type: Appendix
1994 Volume 43 Issue 7 Pages
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Article type: Appendix
1994 Volume 43 Issue 7 Pages
57-
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Tatsuya Otsuka
Article type: Article
1994 Volume 43 Issue 7 Pages
58-59
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Kazuo Kuroko
Article type: Article
1994 Volume 43 Issue 7 Pages
60-61
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Hiroyoshi Sone
Article type: Article
1994 Volume 43 Issue 7 Pages
62-65
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Masaki Morimoto
Article type: Article
1994 Volume 43 Issue 7 Pages
66-69
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Article type: Bibliography
1994 Volume 43 Issue 7 Pages
70-71
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Article type: Bibliography
1994 Volume 43 Issue 7 Pages
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Article type: Bibliography
1994 Volume 43 Issue 7 Pages
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Article type: Bibliography
1994 Volume 43 Issue 7 Pages
75-73
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Article type: Appendix
1994 Volume 43 Issue 7 Pages
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Article type: Appendix
1994 Volume 43 Issue 7 Pages
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Article type: Appendix
1994 Volume 43 Issue 7 Pages
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Article type: Appendix
1994 Volume 43 Issue 7 Pages
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Article type: Appendix
1994 Volume 43 Issue 7 Pages
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Article type: Cover
1994 Volume 43 Issue 7 Pages
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