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2004 Volume 53 Issue 6 Pages
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Article type: Appendix
2004 Volume 53 Issue 6 Pages
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Tae Hirano
Article type: Article
2004 Volume 53 Issue 6 Pages
1-10
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Meikei is usually said to be a poet who worked on the basis of his poetical principle "anryu" ("the act of expressing"). When Meikei was engaged in editing the anthology Kenshin-waka-shu, however, he made not "anryu" but "kenshin" ("solacing one's soul") the editorial standard in selecting the poems. His inclination to "kenshin" in the editorial work is closely related to the natural and unrestrained style of his later writings which began with Kyakuhaimou-ki.
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Shinsuke Matsumoto
Article type: Article
2004 Volume 53 Issue 6 Pages
11-20
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It has been often said that the Prince Shotoku was worshipped like the Goddess Kannon in the Middle Ages. His image as a benign wise man is derived from this. But there are various kinds of Shotoku legends written at the period, some of which completely destroy this image. Probably one of the most surprising legends is that of the warlike prince who taught the art of war to his disciples. Especially the "engi" document of the Aburahi Shrine in Koga Provience of Shiga Prefecture shows the most belligerent figure of the wise man. The point of this essay is to examine the representation of the prince in the document and then to trace the formation of his image as a warrior.
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Junichi Funada
Article type: Article
2004 Volume 53 Issue 6 Pages
21-32
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In the Middle Ages, the members of Kasuga-sha-Kofuku-ji Temple reworked the ancient myths into the so-called medieval versions. "The Amano-Iwato Celestial Gate," "The Divine Abdication of Okuni-Nushi-no-Mikoto," and "The Advent of the Sun-Goddess's Grandson" were all adapted to serve the religious purpose. In Kasuga-gongen-koshiki, a collection of the medieval versions written by Teikei, there are thus inscribed the discourses of the age ranging from the politically rendered myth of the two gods' agreement to "The Amano-Iwato Celestial Gate" rewritten in the context of salvation by belief. But Kasuga-gongen-koshiki is far from a unified text, for there are two kinds of the same book, the three-volume and the five-volume editions, which are similar in many points but different in religious outlook from each other. The aim of this essay is to compare the two different religious worlds presented by the two editions.
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Yuya Yoshimaru
Article type: Article
2004 Volume 53 Issue 6 Pages
33-41
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Shikitei-Sanba's career as a "kyoka" satirist underwent an important change after the third year of the Kyowa Period. At first he was enganed in making satirical poems exclusively as the member of the Senju school, but after that year he, now a well-known playwright, came to enjoy a wide range of associations with other "kyoka" groups. At this transitional period Kyoka-kei was published. The mark of the critical moment in his career is left on the work in which one can have glimpses of the author's decision to write satirical poems from the viewpoint of a playwright.
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Yumiko Sekiya
Article type: Article
2004 Volume 53 Issue 6 Pages
42-53
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Mon, one of Soseki Natsume's trilogy, is a sort of meta-text about textual closure. The story has several gaps that provoke the reader to fill in. Why did Yasui falsely introduce Oyone to Sosuke as his sister? Why does the key character Yasunosuke Saeki never show up as if he were intentionally hidden away? Those mysteries scattered over the story function as circulating agency which seems to refer to numerous meanings but always returns to the starting point with nothing signified. The narrative structure which consists of such tension between over-productivity ond non-productivity seems to reflect the incipient consumer culture of the Taisho Period. In this sense, Mon is not, as has been often said, a story about the banishment from society but quite contrarily one about the banishment to society.
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Noriko Utsumi
Article type: Article
2004 Volume 53 Issue 6 Pages
54-65
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"Watashi-no-shocho-shiron" is an important text to understand the poetics of Takuji Ote, a pioneer in Japanese modernism. The poet read Adolphe van Bever and Paul Leautaud's Poetes d'Aujourd'hui and was greatly interested in the symbolism of Mallarme and Maeterlinck. By studying their works, he grasped symbolism in the function of language and made his own method of releasing language from any referents. Finally Ote developed his symbolism into Valerie-like poesie pure or poetical language as music.
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Junitsu Hamamoto
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2004 Volume 53 Issue 6 Pages
66-67
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Atsuhiko Wada
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2004 Volume 53 Issue 6 Pages
68-72
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Mizue Yoshino
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2004 Volume 53 Issue 6 Pages
74-75
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Masaharu Hasegawa
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2004 Volume 53 Issue 6 Pages
76-77
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Kakuzo Maeda
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2004 Volume 53 Issue 6 Pages
78-79
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Takeshi Oshino
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2004 Volume 53 Issue 6 Pages
80-81
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Article type: Bibliography
2004 Volume 53 Issue 6 Pages
82-83
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2004 Volume 53 Issue 6 Pages
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Article type: Appendix
2004 Volume 53 Issue 6 Pages
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2004 Volume 53 Issue 6 Pages
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2004 Volume 53 Issue 6 Pages
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2004 Volume 53 Issue 6 Pages
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2004 Volume 53 Issue 6 Pages
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2004 Volume 53 Issue 6 Pages
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2004 Volume 53 Issue 6 Pages
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2004 Volume 53 Issue 6 Pages
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2004 Volume 53 Issue 6 Pages
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2004 Volume 53 Issue 6 Pages
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2004 Volume 53 Issue 6 Pages
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