{"created":"2023-06-20T13:24:51.545538+00:00","id":6612,"links":{},"metadata":{"_buckets":{"deposit":"3056e999-9981-4029-869b-41eb86150582"},"_deposit":{"created_by":24,"id":"6612","owners":[24],"pid":{"revision_id":0,"type":"depid","value":"6612"},"status":"published"},"_oai":{"id":"oai:ir.soken.ac.jp:00006612","sets":["28:43:564"]},"author_link":["12122","12123"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2023-03-31","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"19","bibliographicPageEnd":"51(210)","bibliographicPageStart":"39(222)","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_date_30":{"attribute_name":"発行年","attribute_value_mlt":[{"subitem_date_issued_datetime":"2023-03-31"}]},"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":"　芝全交は、安永九年から寛政五（一七八〇～一七九三）年にかけて活躍した黄表紙作者である。活動二年目にあたる天明元（一七八一）年には八作の黄表紙を鶴屋から出板している。このことからは、黄表紙作家としての活動意欲や、鶴屋からの期待がうかがえ、全交の活動を研究するにあたっても注目すべき年である。\n　この天明元年に鶴屋から出板された黄表紙の一つが『通一声女暫』（芝全交作・〔北尾重政〕画）である。先行研究において棚橋正博氏は、『日本古典文学大辞典』第四巻（一九八四年）で「遊里を舞台にした華々しさの反面、筋運びに荒さや飛躍がみられ」ると評価されている。しかし、演劇の場面を茶番仕立てや素人狂言と捉えており、最終丁に見える「俄」についての言及はない。これに対し、本稿は作中に描かれる吉原俄の利用方法に注目し、他作者の黄表紙における俄の描かれ方と比較・検討することで、本作を再評価するものである。\n　ここでの俄は、当時吉原において春の桜、夏の灯籠と並んで秋に行われた三大景物の一つを指す。その様相は、元来の即興的で滑稽な俄とは異なり、計画的で華やかな催しであった。本稿で取り上げる黄表紙はいずれも吉原に俄が定着した安永年間（一七七二～一七八一）以降に出板された作品である。\n　『通一声女暫』では、景物としての形式そのものを黄表紙という媒体に落とし込む形で俄を利用している。これによって、様々な演劇の場面を吉原の各地で演じられた一幕として読者に認識させるという、話の展開とは別次元のメタ構造を有している。よって本作は、話の展開のみに注目するのではなく、様々な演劇の場面を視覚的に楽しむという点に重きを置いて鑑賞するべき作品であるといえる。\n　一方、他の作者の黄表紙において、俄の利用は部分的なものであり、吉原を表象する具体例の一つとしての利用に過ぎない。後続の黄表紙への直接的な影響こそ認められないものの、俄を全交が逸早く流行として捉えていたこと、それをさらに、黄表紙の形式に落とし込むという独自の形で表現したことは高く評価すべきである。\n　全交が天明元年に出板した黄表紙の内、六作は作中に様々な趣向を利用して構成されているが、その中に、他の黄表紙作者が多用する傾向にある荒唐無稽な展開に比較的簡単に落ちを取ることが可能な夢落ちの趣向が使われた作品はない。これは、黄表紙に求められる当世性を表すとともに、安易な落ちに変化をつけるための全交の試行錯誤だったとも捉えられる。この年の工夫が、全交の代表作とされる『大悲千禄本』（天明五〈一七八五〉）を生み出す上での呼び水になったとも考えられる。\n\nShiba Zenkō was a kibyōshi author active from 1780 to 1793. In 1781, the second year of the active period, he produced eight kibyōshi for Tsuruya, which indicates Shiba’s willingness to work as a kibyōshi writer and the expectations of Tsuruya for Zenkō. The year 1781 is a most suitable year to study Zenkō’s activities.\nOne of the kibyōshi produced by Tsuruya in 1781 was “Tsū no Hitokoe Onna no Shibaraku”. In an earlier study, Tanahashi Masahiro mentions in his Dictionary of Japanese Classical Literature, Vol. 4 (1984) that “despite the pageantry of the Yukaku setting, there are some rough edges and leaps in the plot”. There is, however, no mention of Niwaka, as he sees the theatrical scene as a farce or amateur kyogen. In contrast, this paper reevaluates this work by focusing on the way Niwaka is depicted in the work and comparing and contrasting it with the way Niwaka is depicted in kibyōshi by other authors.\nNiwaka here refers to one of the three major customs practiced in Yoshiwara at that time. It was a well-planned and spectacular event, unlike the original Niwaka, which is impromptu and comical in nature. All of the kibyōshi discussed in this paper were issued after 1772 to 1781, when Niwaka became established in Yoshiwara.\nFirst, “Tsū no Hitokoe Onna no Shibaraku” was created using the Niwaka form through the kibyōshi as a medium. This allows readers to perceive the various theatrical scenes as a single act performed in various parts of Yoshiwara. It has a meta-structure with a dimension different from the development of the story. Therefore, this work should be viewed with an emphasis on visual enjoyment, rather than focusing solely on the development of the story.\nIn general, kibyōshi authors use Niwaka in part only as a specific example that represents Yoshiwara. While no direct influence on the subsequent kibyōshi works is recognized, Zenkō’s early recognition of Niwaka as a fad and his original expression in the form of kibyōshi, should be appreciated.\nSix of Zenkō’s kibyōshi works published in 1781 were created using various writing techniques other than Yume Ochi, a technique often used by other kibyōshi authors to develop preposterous stories. Zenkō’s use of techniques other than Yume Ochi indicates his effort to change easy taglines as well as to express the contemporary nature required of kibyōshi. The ingenuity seen in the works created in 1781 may have triggered creation of “Daihi no Senroppon” (1785), which is considered Zenkō’s most famous work.","subitem_description_type":"Abstract"}]},"item_10002_link_26":{"attribute_name":"要旨リンク","attribute_value_mlt":[{"subitem_link_text":"要旨","subitem_link_url":"http://www.bunka.soken.ac.jp/journal_bunka/19_02_takasuka/index.html"},{"subitem_link_text":"Summary","subitem_link_url":"http://www.initiative.soken.ac.jp/journal_bunka/19_02_takasuka/index_en.html"}]},"item_10002_link_28":{"attribute_name":"書誌レコードID(NCID)","attribute_value_mlt":[{"subitem_link_text":"AA12058987","subitem_link_url":"https://ci.nii.ac.jp/ncid/AA12058987"}]},"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 / 葉山町（神奈川県）"}]},"item_10002_relation_17":{"attribute_name":"関連サイト","attribute_value_mlt":[{"subitem_relation_name":[{"subitem_relation_name_text":"第19号 号別論文一覧 / Vol.19 Thesis list"}],"subitem_relation_type_id":{"subitem_relation_type_id_text":"http://www.bunka.soken.ac.jp/journal_bunka/title_index.html#v19","subitem_relation_type_select":"URI"}}]},"item_10002_rights_15":{"attribute_name":"権利","attribute_value_mlt":[{"subitem_rights":"©2023 The Graduate University for Advances Studies, SOKENDAI"}]},"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":"SOKENDAI(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":"高須賀, 萌","creatorNameLang":"ja"}],"nameIdentifiers":[{}]},{"creatorNames":[{"creatorName":"TAKASUKA, Moe","creatorNameLang":"en"}],"nameIdentifiers":[{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_access","date":[{"dateType":"Available"}],"filename":"SOKENDAIbunka_19_39","url":{"label":"論文PDF（リンク）","url":"http://www.initiative.soken.ac.jp/journal_bunka/19_02_takasuka/19_02_takasuka.pdf"},"version_id":""},{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2023-03-24"}],"displaytype":"detail","filename":"takasuka.pdf","filesize":[{"value":"2.2 MB"}],"format":"application/pdf","licensetype":"license_5","mimetype":"application/pdf","url":{"label":"論文PDF","url":"https://ir.soken.ac.jp/record/6612/files/takasuka.pdf"},"version_id":"de54811c-f926-4325-81bc-8fabc0194501"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"芝全交｜草双紙｜黄表紙｜俄｜吉原","subitem_subject_language":"ja","subitem_subject_scheme":"Other"},{"subitem_subject":"Shiba Zenkō｜kusazōshi｜kibyōshi｜Niwaka｜Yoshiwara","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":"芝全交作『通一声女暫』考 ―吉原俄に着目して―","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"芝全交作『通一声女暫』考 ―吉原俄に着目して―","subitem_title_language":"ja"},{"subitem_title":"Consideration of Shiba Zenkō’s “Tsu no Hitokoe Onna no Shibaraku” with a Focus on Yoshiwara’s Niwaka","subitem_title_language":"en"}]},"item_type_id":"10002","owner":"24","path":["564"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2023-03-24"},"publish_date":"2023-03-24","publish_status":"0","recid":"6612","relation_version_is_last":true,"title":["芝全交作『通一声女暫』考 ―吉原俄に着目して―"],"weko_creator_id":"24","weko_shared_id":-1},"updated":"2024-01-24T05:26:08.066390+00:00"}