The purpose of this study is to investigate the negotiations between the Tokugawa shogunate and the 'Sumo-kaisho'(an organization of sumo wrestlers and referees)regarding the arrangements for the 'Joran-sumo match in the Kansei era', which was beld in the presence of the Shogun in 1791, and to clarify the principles underlying the arguments for and against the appointment of Zenzaemon Yoshida XIX to the top of the sumo party concerned. The archives used for this study were selected from the National Diet Library, and were written down by the Tokugawa shogunate for the record. The 'Joran-sumo match in the Kansei era' was the first one held in the Edo period, so the Tokugawa shogunate was unsure how to hold this momentous event. Therefore he appointed the Sumo-kaisho to arrange the Joran-sumo match for him. The Sumo-kaisho had been organized under Zenzaemon Yoshida XIX, who had asserted that he had been the chief of the sumo party for generations all throughout Japan, and that the Sumo-kaisho had been his apprentice. Therefore, the Sumo-kaisho required that the Tokugawa shogunate appoint Zenzaemon Yoshida XIX to the 'sumo-shiki'(a sumo ceremony)for the Joran-sumo match since both the Sumo-kaisho and the Tokugawa shogunate recognized that the 'sumo-shiki' was essential for the Joran-sumo match. However the Tokugawa shogunate refused, and instead appointed Shonosuke Kimura VII, deciding that Zenzaemon Yoshida XIX was the chief only in name. Accordingly Shonosuke Kimura VII was made the head organizer of the Sumo-kaisho based on the fact that Shonosuke Kimura VII had had several experiences as substantial organizer, whereas Zenzaemon Yoshida XIX had no practical experience. Furthermore, his background was very suspicious. However, the Sumo-kaisho had been united behind Zenzaemon Yoshida XIX and his background, so if they allowed his background to questioned, it would show a lack of unity to the Sumo-kaisho's part. Therefore, the Sumo-kaisho insisted on appointing Zenzaemon Yoshida XIX to do the 'sumo-shiki'. In the end, the Tokugawa shogunate appointed Zenzaemon yoshida XIX to do the 'sumo-shiki' and his questionable background was overlooked. As a result, the 'Joran-sumo match in the Kansei era 'proved to be an important factor in the Sumo-kaisho's effort to gain authority as the leading organization in sumo.

抄録全体を表示

The costume of the modern Kendo is dressed in the three-quarter sleeves and Umanori-Hakama. Hakama has usually tl. e length to reach an ankle. Because, by having so, we have the merit that our foot posture and foot action cannot be recognized by the others.
On seeing the old pictures concerned with Kendo, there is some types. One is a long Hakama in Shinkage-style. The others are a short lengthened Hakama, and playing figure to taking “Momodachi” to have free legs action. These are different from the style of the modern Kendo. Especially, Momodachi-style could be seen in early of Meiji Era. But, method of taking “Momodachi” had various way and that had definite as life pattern of Bushi.
As a part of the history of Kendo, I described the process of Momodachi-style, how to take Momodachi, and their historical resource.

抄録全体を表示

視覚で把握した現象を、文章を主とした記述で再現したものとして、記録文である寛政三年上覧相撲の記述を見る。その中では古典から援用した語彙によって、視覚によって把握した以上のイメージを伝達していることを確認する。同様に相撲という動きを中心とした視覚情報を構築している『南総里見八犬伝』の一部を検証してみると、そこでは、相撲そのものよりも、物語の構成要素としての性格が強く、動態視覚描写に関しては、省略がなされていることがわかる。古典からの援用も、視覚描写の省略も、作者と読者が同一文化に属しているために可能になる手法であった。読者は自分が形成している知識を以って、与えられた情報に接し、その解釈、享受を自分の知識で補って行う。比喩的には冷たいメディアの構造が成り立つ。ここには、二つの読者の知識参加形態がある。一つは、視覚描写ではカバーできない認知についてであり、一つは、筆者と読者に共通する知識を省略して了解する方法である。ついで、日常的な視覚情景について、人情本の技法を為永春水の作品から拾う。春水は都市風俗を流行するものとして見ている。変化に敏感な視覚的描写を尊重する態度は、江戸の文人に共通しており、風俗考証の記述は人情本の対極に位置付けられる。過去の風俗への関心には想像力による補綴が必要になるが、現実に存在しないものの描写は、作者の胸中で醸成されたものとなる。秋成の読本が得ている文学的評価に、視覚的描写力の評価がある。これは非日常的描写になる。以上、記録と風俗と想像という視覚表現の三要素を概括し、近世後期の視覚は広範に流布していた文化を基盤として、成り立ったとする考えを述べた。

抄録全体を表示