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  • ―『奥州仙台栗原郡畑村縁記』の紹介と翻刻―
    大島 由紀夫
    群馬高専レビュー
    2006年 25 巻 9-21
    発行日: 2007/03/23
    公開日: 2021/12/16
    研究報告書・技術報告書 オープンアクセス
    Sumiyaki-Tota (炭焼藤太) legend is a type of Sumiyaki-Chojya (炭焼長者) legend which has a nationwide distribution. Sumiyaki-Tota legend has been told in the Tohoku district. The legend has been connected with the history of the temples or the shrines in many cases. Sumiyaki means a charcoal burner.
    Oshu Sendai Kuriharagun Hatamura Engi (奥州仙台栗原郡畑村縁記) is a text recording Sumiyaki-Tota legend which has been handed down in the Kannari Town, Miyagi prefecture. Former Hatamura village is a part of the Kannari Town at present. The text was written by Umonbo (右門坊) in 1789. Umonbo was a priest belonged to Haguro Shugen (羽黒修験) sect.
    The content in the first half of the text is concerned with the history of Jyofukuji (常福寺) temple. Umonbo explained that Jyofukuji was built by Sumiyaki-Tota and his wife called Okoyonomae (おこよの前) in the later Heian period, and that Tota and Okoyonomae were parents of Kaneuri-Kichiji (
    金売吉次
    ) who was a legendary hero in the Tohoku district. In 1686, Jyofukuji published Sumuyaki-Tota-shi (炭焼藤太史) which recorded a brief outline of Sumiyaki-Tota legend. By comparing the text with Sumuyaki-Tota-shi, we can know that the text has the specific characteristics of going into the details about how Tota and Okoyonomae became a husband and wife.
    The content in the second half of the text is concerned with the history and the geography of Hatamura village. Most of the description was based on Honai Fudoki (封内風土記) and Anei Fudoki (安永風土記). Honai and Anei Fudoki were compiled by the Sendai Clan.
    Oshu Sendai Kuriharagun Hatamura Engi is an important material for the legend research, which had not been known until this time. In this paper, the writer has given a bibliographical introduction to the text and reprinted it.
  • ―― 時代物浮世草子長編化への試み ――
    宮本 祐規子
    日本文学
    2016年 65 巻 10 号 12-19
    発行日: 2016/10/10
    公開日: 2021/11/03
    ジャーナル フリー

    其磧には、前後編で刊行された時代物浮世草子が数作ある。典拠とされる演劇作品自体に続編があるというわけではないが、前後編を意識して十巻に構成した作品となっており、内容の連続性もある。これらの作品を考察していくと、其磧が時代物浮世草子の方向性として長編化を志向していたことが見えてくる。八文字屋本という商品化の結果、結局は五冊の体裁が定着するが、この前後編作品には、後期読本における長編を先取りするような、其磧の執筆意識をみることができる。

  • 佐々木 孝二
    日本文学
    1984年 33 巻 4 号 1-12
    発行日: 1984/04/10
    公開日: 2017/08/01
    ジャーナル フリー
    The outstanding characteristics of the medieval stories are that they were regarded as the narratives told by the spirits of the dead and that they served as requiems. So in spite of being fiction, they have a close connection with historical realities. And the narratives were transmitted mostly by psychic medi-ums who belonged to the low class and had close relationships with the rural people. The transmitters picked up a lot of rural legends and drew them into their narratives, as well as spreading the stories to many districts. I've discussed these characteristics of the medieval narratives through a couple of stories which have something to do with the transmission in the nor-thern part of Ou district.
  • 荒木 繁
    日本文学
    1978年 27 巻 7 号 28-39
    発行日: 1978/07/10
    公開日: 2017/08/01
    ジャーナル フリー
  • 林屋 辰三郎
    日本學士院紀要
    1993年 48 巻 1 号 1-18
    発行日: 1993年
    公開日: 2007/06/22
    ジャーナル フリー
    Looking forward to the 1200th establishment anniversary of Heiankyo, final and the longest survived crown city of ancient Japan, in 1994 (the 6th year of Heisei), Kyoto Chamber of Commerce and Industry, together with municipal government of the prefecture and the city of Kyoto, has organized The Memorial Foundation for her celebration. Various programs are now proposed or carried into practice through this Foundation which combines civil and official supports.
    The grand design for these projects sprouted up from the soil which The 1100th Anniversary Memorial Enterprises has brought forth, taking the experiences just 100 years ago as a guide line to be cleared. Present projects have fresh leading idea that recognizes the coming 100 years as century for the confirmation of human rights, and that has been induced from global perspective over current history of the mankind. A great number of studies in history and related fields collected to serve the compilation of communal history of the city of Kyoto may effectively support the charming events based upon that idea.
    Considering these situations and fundamental subjects of The Memorial Project, attention to the basic characteristics of Kyoto's cultural tradition will have to be focused on its thick and fine accumulation of historical facts full of diversity, and on wide and far reaching internationality that cherished in the numerous layers of times that the city has inherited.
    (1) Accumulation of historical facts;
    Judging from the general view over the maturing process of Kyoto's cultural tradition, it may properly be insisted to notice five basic factors, each of which had had its own climax in a certain age from prehistoric until early modern respectively.
    A) Alien culture transplanted by immigrants from Asian Continent (Torai jin), especially their technology.
    B) Noblemen's culture which came in full blossom in Imperial Court of Heiankyo.
    C) Religious culture created by and conveyed through sacred environment (Jisha Buddhist temple and Shinto shrine).
    D) Townsmen's (Machi shu's) culture supported mainly by economic vitality of enterprising merchants and manufacturers.
    E) Highly sophisticated culture based upon elaborate system of instruction through which solid value system had developped and preserved.
    (2) Internationality;
    Cultural tradition of Kyoto obtained its internationality within limited extent of world view, consisting of only three states namely Nippon, Shintan (China) and Tenjiku (India), in ancient and medieval days. But, when the contact with European began around the end of medieval times, the perspective expanded to a new field, Nanban: Islamic and Christian world) as it was named. At the dawn of modern times, arrival of Kurofune, the iron ocean steamer from New World added another component to its internationality and resulted in the opening of the country to foreign intercourses.
    These backgrounds conducted the history to inscribe the evidences of internationality in Kyoto's cultural tradition such as follows.
    A) Square and grid patterned plan of ancient crown city with her Imperial Court and guest house for diplomatic troops from abroad, Korokan.
    B) Cultural properties bearing witnesses to dispatch and receipt of information to/from alien countries in the earlier times.
    C) Positive attitude of citizens to exotic culture to keep the initiative against other domestic regions as proved through Kyoto's modernization process.
  • 斎藤 平吉
    日本鉱業会誌
    1967年 83 巻 946 号 83-125
    発行日: 1967/02/25
    公開日: 2011/07/13
    ジャーナル フリー
  • 飯島 吉晴
    民族學研究
    1978年 42 巻 4 号 312-333
    発行日: 1978/03/31
    公開日: 2018/03/27
    ジャーナル フリー
    In Japan the house is an internal space (culture) cut off from the outside world (nature). It is not only a dwelling place, but it also forms a microcosm composed of two categories front and back. The front part of a Japanese house is a light, clean, superior and formal (central) place in daily life, while the back part which is composed of a kitchen, toilet, bedrooms, store-rooms and stable is regarded as a dark, dirty, inferior and informal (peripheral) place. In the front rooms, usually called Dei (出居) or Omote (=front, 表), gods of famous local shrines and ancester-gods are worshipped by householders and regular priests. But, in the back rooms, on the other hand, Ebisu-Daikoku (=gods of good fortune, エビス・大黒), Ta-no-kami (=the field god, 田ノ神), Nando-gami (=god in Nando-room, 納戸神) and Kamado-gami(=the hearth deity, 竈神)are venerated by house-wives and wandering (inferior) priests. The both parts are sometimes further subdivided into two contrasting categories. For example, in the front side of the house, Shintoism (god) and Buddism (ancester) occupy opposing positions in ritual. The purpose of this paper is to consider symbolic functions and structures of private house deities (especially the hearth deity) worshipped in the back rooms, and to reconstruct part of the cosmology represented in folktales, legends and ritual around the hearth and its deity. The hearth is a symbol of the "family" itself and its deity plays an important role in guarding the family and life in general. In folktales and legends, the hearth deity is closely connected with sake (=wine) and gold. Sake is a sacred drink which facilitates communication with the other world (god) : however, this word also indicates a border or boundary. Gold signifies a complete rebirth as well as a precious metal as opposed to death and things dirty. Yet, the hearth deity can transform the negative (feces) into the positive (gold). This shows that it is a mediating bridge between two states (e. g. positive/negative, rich/poor, life and death.) Consequently, the hearth god resembles to a great degree a guardian god at the village boundary acting as a mediator between this world and the other. Generally speaking, house deities in the rear of the premises have negative characteristics darkness, ugliness, dificiency and imperfections (for instance, they are deaf, blind, bald, lame, one-legged or one-eyed) . Their negative aspect symbolizes a kind of "death" (otherness) and is an indispensable condition for a new and better world which is about to dawn for "negativized being" is entitled to occupy a whole place within the system. In folktales and various rites, the transition between life and death (opposite principles) is often made in the back section of the house, where the house quardian spirits live, appearing in the form of a dwarf, a little child or small animals (a snake. a mouse, or a fox etc) . The corn spirit (usually the paddy spirit) is also worshipped in the back side of the house which is also a special area for rebirth where the two principles of life/death, fire/water coexist, and they exchange places each other. The hearth deity as a mediator, for example, is characterized by the conflicting concepts of at once the fire god and the water god, the guardian god and the rough god (荒神), life and death. In this respect, it resemble the thunder god which is mediator between the sky and the earth. The thunder god rumbles when the seasons change, and at the time of birth and death. This god, which is thought to be a one-eyed god and smith-god, marks the crossing of boundaries between two different states.
  • 若松 加寿江, 成井 信
    日本地震工学会論文集
    2021年 21 巻 4 号 4_86-4_122
    発行日: 2021年
    公開日: 2021/08/31
    ジャーナル フリー

    本文は2011年3月11日に発生した東北地方太平洋沖地震による福島県内陸部の白河市周辺の地盤と構造物の被害271箇所について報告している.271箇所の緯度経度を取得し,被害のタイプ別に分類した上で,特徴を整理している.さらに,主な被害地点における被害の要因を地形・地盤条件から分析している.本地域における地盤災害の要因は,丘陵・台地においては白河火砕流や降下火山灰などの火山性堆積物と,低平地においては火山性堆積物を用いた盛土・埋戻し地盤であることに特徴付けられる.

  • 秋元 信英
    國學院短期大学紀要
    1993年 11 巻 181-232
    発行日: 1993/03/23
    公開日: 2018/07/19
    研究報告書・技術報告書 フリー
  • 中世文学
    1981年 26 巻 45-139
    発行日: 1981年
    公開日: 2018/02/09
    ジャーナル フリー
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