{"created":"2023-06-20T13:22:11.325342+00:00","id":2694,"links":{},"metadata":{"_buckets":{"deposit":"5e908ebb-c8eb-4eef-84bb-897e2fffb717"},"_deposit":{"created_by":24,"id":"2694","owners":[24],"pid":{"revision_id":0,"type":"depid","value":"2694"},"status":"published"},"_oai":{"id":"oai:ir.soken.ac.jp:00002694","sets":["28:43:235"]},"author_link":["0"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2012-03-30","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"8","bibliographicPageEnd":"70","bibliographicPageStart":"57","bibliographic_titles":[{"bibliographic_title":" 総研大文化科学研究 "},{"bibliographic_title":"Sokendai review of cultural and social studies","bibliographic_titleLang":"en"}]}]},"item_10002_description_19":{"attribute_name":"フォーマット","attribute_value_mlt":[{"subitem_description":"application/pdf","subitem_description_type":"Other"}]},"item_10002_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"　　近世後末期の越前国福井（現福井県）出身の歌人橘曙覧が詠んだ五二首からなる連作詠「独楽吟」は、すべて初句が「楽しみは」、末句が「時」で揃うという形になっている。これは従来の和歌に見られない独特な表現形式とされ、その形成について、先行研究では、「くつかむり」の方式などが作者の発想と構成を促した、あるいは俳諧歌や狂歌から影響を受けたとするものなど、日本の韻文に関連した指摘が多くあるが、十分に納得のいく具体的な説明はいまだ提出されていない。\n　　一方、中国文学との関わりについては、前川幸雄氏が、論文「橘曙覧作「日本建国之吟」考」（『福井大学教育地域科学部紀要』第五二号、二〇〇一年十二月）において、曙覧の「独楽吟」を北宋の邵雍の詩作に関連付け、さらに、論文「橘曙覧と邵雍と―「独楽吟」と「首尾吟」の関係について―」（『国語国文学』第五〇号、福井大学言語文化学会編、二〇一一年三月）において、「独楽吟」と邵雍の連作詩「首尾吟」との関係、即ち作者の人生、処世観、作品の構成（形式上の）、作品の思想上の類似性、共通性について考察した。これは、曙覧の「独楽吟」を考える上で非常に示唆的なものであった。\n　　「首尾吟」とは、邵雍の詩集『伊川撃壤集』巻二十に収められる連作詩であり、各詩の首句と尾句が「堯夫非是愛吟詩」という同じ句で統一されており、従来、見られない特殊な漢詩の体裁となっている。また、この連作の各詩の首聯は、例えば「堯夫非是愛吟詩、詩是閑観蔬圃時」（「首尾吟」第六五首のもの）のように、首句が「堯夫非是愛吟詩」という同じ句で統一されているだけではなく、第二句「詩是閑観蔬圃時」の句尾も「…時」という詞で統一されている。『伊川撃壤集』では、このような形式の詩が一三五首連続して並んでおり、連作の全体に音律的リズムを与えている。本稿では、こうした首聯での表現形式と、曙覧の「独楽吟」の表現形式との相似性に焦点をあてて、両者の影響関係について考察する。そしてまた、「首尾吟」は、その表現内容においても、自然や田園、生活や家庭の楽など身近な楽しみを詠み上げているが、曙覧の「独楽吟」にも「首尾吟」の発想や趣向をとりなしたとみられる例が散見されることについて検討を加えた。\n","subitem_description_type":"Abstract"},{"subitem_description":"In the late Edo period, Tachibana no Akemi wrote a linked poem called Dokurakugin, which had a unique form of expression by starting the upper phrase with “tanoshimi wa” (“the moment I’m feeling happy is”) and concluding the lower phrase with “toki” (“when”) The form of this poem has long been thought to be a unique artistic form of waka. Up to now, no research has been able to explain how the form of this poem came to be.\nHowever, the Northern Song Dynasty poet Shao Yong left a famous group of 135 poems called Shao wei yin (Jp. Shubigin), all of which were included in his collection Ichuan Jirang ji (Jp. Isen Gekijō shō). A special characteristic of these poems is that each upper and lower phrase reads “Gyofu kore shi ginzuru o aisuru ni arazu” (I wrote a poem because I want to enjoy life, not because I like to write a poem). Moreover, each of these poems uses “toki” to end the second sentence. That is to say, for every poem, the first sentence is “Gyofu kore shi ginzuru o aisuru ni arazu,” and the end of the second sentence is “toki.” Thus we can see that this form has a kind of rhythm between the first sentence and the end of the second sentence, and that it appears to be similar to the form that Tachibana no Akemi uses in Dokurakugin. In addition, the ideas and artistic conceptions of Shao wei yin and Dokurakugin in their expressions regarding landscape gardens and happy family life are also quite similar. \nI believe this is sufficient evidence to conclude that the expressive form of Shao wei yin had an influence on the form of Dokurakugin in its development process.","subitem_description_type":"Abstract"}]},"item_10002_link_26":{"attribute_name":"要旨リンク","attribute_value_mlt":[{"subitem_link_text":"論文要旨","subitem_link_url":"http://www.initiative.soken.ac.jp/journal_bunka/120328_wang/index.html"},{"subitem_link_text":"Summary","subitem_link_url":"http://www.initiative.soken.ac.jp/journal_bunka/120328_wang/index_en.html"}]},"item_10002_publisher_8":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"総合研究大学院大学文化科学研究科"}]},"item_10002_relation_17":{"attribute_name":"関連サイト","attribute_value_mlt":[{"subitem_relation_name":[{"subitem_relation_name_text":"第8号 号別論文一覧"}],"subitem_relation_type_id":{"subitem_relation_type_id_text":"http://www.initiative.soken.ac.jp/journal_bunka/title_index.html#v8","subitem_relation_type_select":"URI"}}]},"item_10002_source_id_9":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"1883-096X","subitem_source_identifier_type":"ISSN"}]},"item_10002_textarea_25":{"attribute_name":"出版者(英)","attribute_value_mlt":[{"subitem_textarea_language":"en","subitem_textarea_value":"The Graduate University for Advanced Studies, School of Cultural and Social Studies "}]},"item_10002_version_type_20":{"attribute_name":"著者版フラグ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_970fb48d4fbd8a85","subitem_version_type":"VoR"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"王, 暁瑞","creatorNameLang":"ja"},{"creatorName":"WANG, Xiaorui","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_access","displaytype":"detail","filename":"SOKENDAIbunka_8_4","licensetype":"license_5","url":{"label":"論文PDF（リンク）","url":"http://www.initiative.soken.ac.jp/journal_bunka/120328_wang/wang.pdf"},"version_id":""},{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2012-06-11"}],"displaytype":"detail","filename":"SokenRev8_57-70_wang.pdf","filesize":[{"value":"959.1 kB"}],"format":"application/pdf","licensetype":"license_5","mimetype":"application/pdf","url":{"label":"論文PDF","url":"https://ir.soken.ac.jp/record/2694/files/SokenRev8_57-70_wang.pdf"},"version_id":"42134d9e-efdb-428d-b00a-0ed61dd44759"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"橘曙覧、「独楽吟」、邵雍、「首尾吟」、表現形式、漢詩受容","subitem_subject_language":"ja","subitem_subject_scheme":"Other"},{"subitem_subject":"Tachibana no Akemi, Dokurakugin, Shao Yong, Shao wei yin (Jp. Shubigin), expression, reception of Chinese poetry","subitem_subject_language":"en","subitem_subject_scheme":"Other"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"橘曙覧「独楽吟」の表現形式と漢詩受容の可能性―邵雍「首尾吟」との関係をめぐって―　","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"橘曙覧「独楽吟」の表現形式と漢詩受容の可能性―邵雍「首尾吟」との関係をめぐって―　","subitem_title_language":"ja"},{"subitem_title":"Influences of Shao Yong’s Chinese Poetry (Shou wei yin) on Tachibana no Akemi’s Dokurakugin","subitem_title_language":"en"}]},"item_type_id":"10002","owner":"24","path":["235"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2012-04-02"},"publish_date":"2012-04-02","publish_status":"0","recid":"2694","relation_version_is_last":true,"title":["橘曙覧「独楽吟」の表現形式と漢詩受容の可能性―邵雍「首尾吟」との関係をめぐって―　"],"weko_creator_id":"24","weko_shared_id":-1},"updated":"2023-10-06T05:40:18.392845+00:00"}