全文: "海行かば"
12件中 1-12の結果を表示しています
  • 林 浩平
    2013年 62 巻 5 号 76-77
    発行日: 2013年
    公開日: 2018/05/18
    ジャーナル フリー
  • 福田 隆義
    2002年 2002 巻 194 号 41-46
    発行日: 2002/04/08
    公開日: 2017/03/20
    ジャーナル フリー
  • 猪飼 誠一郎
    1937年 13 巻 12 号 50-54
    発行日: 1937/12/01
    公開日: 2010/10/13
    ジャーナル フリー
  • 久保 快哉
    2001年 2001 巻 188 号 64-68
    発行日: 2001/03/20
    公開日: 2017/08/19
    ジャーナル フリー
  • 福田 隆義
    1986年 1986 巻 136 号 6-15
    発行日: 1986/05/25
    公開日: 2017/03/20
    ジャーナル フリー
  • 今村 嘉雄
    1981年 13 巻 3 号 1-9
    発行日: 1981/03/31
    公開日: 2012/11/27
    ジャーナル フリー
    In the present paper such materials as Manyo (the oldest tanka collection), Chokusen- Wakashu (tanka collections compiled by Imperial command), and other history books and stories are reviewed and the frequencies in use of hunting, wars, battle fields, weapons, warriors, and their ways and ideas of life described in those materials are examined with the change of times.
    In 39650 tankas contained in 23 volumes including Manyo and Chokusen-Wakashues there is no tanka which touches on budo itself, but there are 274 tankas on such military affairs and materials as wars, weapons worriors etc. Frequencies are 164 on bows and arrows,60 on hunting, and 43 on swords. Most of them are used as set epithets or associate words.
    In 773 tankas in 73 volumes which had been compiled after Kojiki and Nihon-Shoki (ancient chronicles compiled in 8th century) there are 299 tankas on hunting,211 in bows and arrows,51 on hunting, and 4 excellent tankas on archery stakes. No tanka which touches on sechie-zumo (wrestling held at the court banquet) which had been held extensively from ancient times through middle ages and kemari (football introduced from ancient China) which was the required culture for the nobles appears in those volumes.
    It is worth notice that the section which concerns to Buddhism was prepared in Chokusen- Wakashu after Goshuin- Wakashu (one of the Chokusen- Wakashues), and the view of fate and uncertainty of life began to be composed. It is also worthy to note that this philosophy of Buddhism especially zen Buddhism which has spread in samurai society with the beginning of Kamakura era (1192), was related to such samurai's view of fate as shisei-ichijo (death is equivalent to life) and fujaku-shinmyo (disregard of life). These thoughts had developed afterwards into loyalty to a country and a lord. It was the transitional period from the feudal age to the Meiji era when such a thought was in full bloom.
  • 安藤 久次
    1994年 6 巻 6 号 109-115
    発行日: 1994/12/15
    公開日: 2018/07/03
    ジャーナル フリー
    The Japanese word "koke", which is now accepted as a standard name for bryophytes, has been used also to refer to lichens because the word "koke" originally means a small hairy plant growing on tree-trunk. The "koke" may further be used loosely to encompass minute algae and fungi as well as some moss-like ferns. It is rarely applied even to dwarf flowering plants. The Japanese "koke" is analogous to the English word "moss", except that the "koke" does not mean bog while the "moss" otherwise refers to boggy ground. Scenes and feelings evoked by "koke", which is considered presumably referring to bryophytes, sometimes possibly including lichens and aerial algae, in Japanese literature and arts have been analysed and discussed in this series of studies (II-VI). Details of the literature and arts quoting or using the "koke" include the prose poem, 31-syllabled poem ("tanka"), 17-syllabled poem ("haiku"), novel, tale, essay, song, ballad, drama, pictorical art, Japanese garden, etc. The scenes and feelings associated with the "koke", especially bryophytes, are claassified roughly into four groups. 1. Long lapse of time, old ages, antiquity, eternity, constancy, solemnity, etc. 2. Beauty, quiet, elegance, rural and mountain-romanticism, etc. "Koke-musu (moss-covered)" conditions of stones, tree-trunks, ground, caves, mountain paths and streams are associated with the scenes and feelings shown in the above groups 1 and 2. The national anthem of Japan "Kimigayo (His Majesty Reign)" quotes the moss growing over mighty rocks, which indicates long lapse of time and eternity. Bryophytes, especially Musci, a precious attribute of Japanese gardens, are useful to give a peculiar quiet beauty and ancient look to the gardens. 3. Seclusion, simplicity, poverty, loneliness, bonze's life, etc. Clean but simple and humble natures of mosses have created unique Japanese expressions: "koke-no-koromo (clothes of moss)", "koke-no-tamoto (sleeve of moss)" ; "koke-no-iori (moss-growing hermitage)", "koke-no-iwato (mossy cave)", etc. The former two phrases figuratively mean the robe of bonzes (Buddhist priests) or clothes of hermits, and also their secluded life; the latter two represent a humble hermitage and a wild cave for religious austerities respectively, and further lonely condition of solitude. 4. Desolation, mutability, retrospection; death, tomb, nether world, etc. Mossy stone walls, mossy houses or roofs and moss-covered tombstones are associated with desolation and mutability, and they recall past times to our minds. Mossy conditions also refer to death and the nether world. A Japanese phrase "koke-no-shita (under the moss)" means under the tomb or in the nether world. Another expression "soh-tai (cleaning mosses on the tomb)" indicates visiting a tomb or celebrating achievement of ancient leading persons by reading inscriptions on their tombstones. A rarely used phrase "koke-musu-kabane (moss-growing dead body)" means a body of the dead lying in the field, for example, it is applied to the body of a soldier killed in a field during warfare.
  • 中村 格
    1990年 39 巻 1 号 18-26
    発行日: 1990/01/10
    公開日: 2017/08/01
    ジャーナル フリー
  • 佐佐木 幸綱
    1975年 24 巻 2 号 1-8
    発行日: 1975/02/10
    公開日: 2017/08/01
    ジャーナル フリー
  • 長島 平洋
    2011年 18 巻 3-13
    発行日: 2011/07/23
    公開日: 2017/07/21
    ジャーナル オープンアクセス
  • 佐藤 和道
    演劇学論集 日本演劇学会紀要
    2017年 65 巻 1-17
    発行日: 2017/11/30
    公開日: 2017/11/30
    ジャーナル フリー

    During World War II, it is known that a lot of Nogaku works were newly written in order to encourage the wartime spirit. Among them, Churei (1941) and Miikusabune (1943) have distinctive features in terms of their large-scale performances and social impact. Churei had more than 100 performances after its premiere, touring nationwide from northern Hokkaido to southern Kyushu. Significantly, in 1942 it was presented at Korakuen baseball stadium in front of over 30000 people. In addition, Churei and Miikusabune were widely spread by record, radio, and news documentaries. This seems to be an exceptional case in Nogaku which has historically had a closed form of performance.

    Why could Churei and Miikusabune become propaganda for the War? Originally Nogaku was supported by a small number of wealthy patrons, so there was no need to assume an unspecified number of spectators. But at the end of the Meiji era, the middle classes such as business people and intellectuals enjoyed as a hobby practicing utai (the chant of Nogaku). Moreover, in the Taisho era there was a “popularization controversy” concernig whether Nogaku should be liberated from specific classes. Furthermore, after the reconstruction from the Grand Kanto Earthquake (1923), the approach of theatre commercialism came to be recognized as necessary for survival.

    This paper discusses the “commercialization of Nogaku” that already had been in progress during the Wartime through the investigation of those two works.

  • ジェイムズ ・R・ブランドン, 日比野 啓
    演劇学論集 日本演劇学会紀要
    2009年 49 巻 99-111
    発行日: 2009年
    公開日: 2018/01/12
    ジャーナル フリー

    More than 100 new “overnight pickle” (ichiyazuke) war plays were staged on kabuki programs between 1931 and 1945. The themes of these plays invariably supported government war aims and policies. Further, the plays refute the usual description of the kabuki repertory as wholly classical: contemporary events were regularly dramatized on kabuki stages down until 1944-1945. In support of the war, kabuki producers entertained elite government guests, raised war funds to purchase armaments, purged “immoral” plays, gave “morale” (ian or imon) performances to military and industrial audiences. And, most important, they staged newly composed war plays (sensôgeki). Three plays written late in the war are examined here. In Gôda Toku's Honolulu City (Honoruru-shi, 1942), issei and nisei living in Hawaii demonstrate their loyalty to the Japanese Empire by wildly cheering as Pearl Harbor is bombed. A mother in If to the Sea (Umi yukaba, 1943), by Kikuchi Kan, stoically accepts news that her eldest son has died in a naval battle in the Pacific. Ten Thousand Cheers for the South Seas (Nanyô banzai, 1944), a dance play, was written by Kimura Tomiko to propagandize for the government's Greater East Asia Co-Prosperity Sphere (Daitoa Kyoei Ken) policy.