<i>The Story of the Last Chrysanthemum</i>: A characteristic phenomenon called “works of art (<i>geidômono</i>)”

DOI
  • AKAI Kimi
    学習院大学大学院人文科学研究科

Bibliographic Information

Other Title
  • 〈芸道物〉の時代
  • 〈芸道物〉の時代 : 「残菊物語」を中心として
  • 〈 ゲイドウブツ 〉 ノ ジダイ : 「 ザンギク モノガタリ 」 オ チュウシン ト シテ
  • ―「残菊物語」を中心として―

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Abstract

<p>Based on the true story of kabuki actor ONOE Kikunosuke II, MURAMATSU Shôfû's novel The Story of the Last Chrysanthemum (1937) became more publically known after being made into a film by director MIZOGUCHI Kenji, as well as a play in the New School style. During the few years around 1935, stories about performers and others involved in classical theater and their devotion to “the way of art (geidô),” were reproduced in many dramas and films. In this article, I examine The Story of the Last Chrysanthemum as a representative of these “works of art (geidômono).”</p><p>In its acceptance in plays and films, “art” was transformed into a world with values more important than any other thing. The stories came to be controlled by a value system that made devotion and sacrifice of oneself to “the way of art” as an act of nobility. The concept of “the way of art” had existed in Japan for a long time, but had not always required such a strong spirit of self-sacrificial dedication. This view towards “the way of art” was characteristic of the period, and in it one can find a certain type of complicity with emperorcentric nationalism.</p>

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Details

  • CRID
    1390282680742775040
  • NII Article ID
    130005239966
  • NII Book ID
    AA1173174X
  • DOI
    10.18935/jjstr.56.0_39
  • ISSN
    21897816
    13482815
  • NDL BIB ID
    024802607
  • Text Lang
    ja
  • Data Source
    • JaLC
    • NDL
    • CiNii Articles
  • Abstract License Flag
    Disallowed

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