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パウンド、イェイツ、ヘミングウェイの日本との邂逅: 狂言をめぐって
https://twcu.repo.nii.ac.jp/records/20115
https://twcu.repo.nii.ac.jp/records/20115d36ff180-2f9b-4247-b2b8-6424b0bd91dd
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
Akiko MANABE_20160101.pdf (758.5 kB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2017-01-20 | |||||
| タイトル | ||||||
| タイトル | パウンド、イェイツ、ヘミングウェイの日本との邂逅: 狂言をめぐって | |||||
| 言語 | ja | |||||
| タイトル | ||||||
| タイトル | Pound, Yeats, Hemingway & Japan: Encounters with Kyogen, Japan’s Classical Theatre | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| 著者 |
真鍋, 晶子
× 真鍋, 晶子 |
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| 著者名ヨミ | ||||||
| 値 | マナベ， アキコ | |||||
| 著者名(別表記) | ||||||
| 値 | MANABE, Akiko | |||||
| 内容 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | In this paper, I explore how philosophy and poetics found in traditional Japanese comic theater or kyogen, an indispensable part of the classical noh gaku repertoire, are reflected in Hemingway’s poetry. His mentor, Ezra Pound, came to appreciate kyogen and noh through his encounter with the manuscripts of Ernest Fenollosa at the beginning of the last century. Pound’s influence on Hemingway is well known, but here I would like to re-evaluate that contribution by concentrating on Hemingway’s poems. I will show how philosophy and aesthetics, similar to those found in classical Japanese theater, especially those existing deep inside kyogen, flow through Hemingway’s poetry. While discussing his poetry, I cannot avoid mentioning haiku and Pound’s “Ideogrammic Method,” two elements which are integral parts of Pound’s poetics, whose echo, in turn, we can hear in Hemingway’s poetry. Among the two inseparable Japanese theatrical forms of noh and kyogen, established in the 14th century, noh’s influence was most marked on the writings of W.B. Yeats (who came to know this Japanese stage genre through Pound). While Pound’s knowledge of noh has been widely discussed, the fact that Pound wrote kyogen comedies himself has received far less attention. Pound wrote his first kyogen to be performed along with At the Hawk’s Well, Yeats’ first modernist play written under influence of noh. I would also like to examine a play, The Cat and the Moon, Yeats wrote under the direct influence of kyogen, since it clearly shows archetypal kyogen elements Yeats learned from Pound. | |||||
| コンテンツの種類 | ||||||
| 値 | 紀要論文 | |||||
| ファイル形式 | ||||||
| 値 | application/pdf | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 05638186 | |||||
| NCID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN10436928 | |||||
| 書誌情報 |
東京女子大学比較文化研究所紀要 巻 77, p. 51-68, 発行日 2016-01-01 |
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