やまと歌のパフォーマティヴィティ : 折口信夫と近代象徴詩史・覚え書(テーマ論文,<特集>物語のパフォーマティヴ)

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タイトル別名
  • Performativity of Classic Tanka Poetry : Notes on the History of the Japanese Symbolic Poem(Theme Paper,<Special Issue>"The Performative in Narrative)
  • やまと歌のパフォーマティヴィティ : 折口信夫と近代象徴詩史・覚え書
  • ヤマ ト ウタ ノ パフォーマティヴィティ : オリグチ ノブオ ト キンダイ ショウチョウ シシ ・ オボエガキ

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抄録

Shinobu Orikuchi, aka Choku Shaku, famous as a unique poet, was regarded as one of the sympathizers of the Araragi school. This influential school expressed that their own ideal is the poets in the Manyoshu and declared that poems should be written from their unvarnished feelings, derived from their real lives. Orikuchi, however, pointed out that a large number of poems in the Manyoshu were misunderstood to have been based on composers' real lives, implying that these phrases were actually cliches adopted from folk songs and oral works. In the same way, he pointed out those ardent expressions in women verses composed in the Nara and Heian era were stereotypes in Utagaki, which were meetings with the intention of finding a sexual partner. He was unwilling to accept passionate words in poetical works as the faithful reflection of author's feelings in their mind. What were the reasons behind such an attitude? In this paper, I find the reasons for this in the poetical conditions peculiar to modern Japan.

収録刊行物

  • 物語研究

    物語研究 14 (0), 54-70, 2014

    物語研究会

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