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【日本文學】

『충신 최초의 가나쓰기』(忠臣仮名書初)의 <충신장물>黒本으로서의 특색에 대하여

원문정보

About a characteristic as Kurohon “Thyusinguramono” in ThyusinKananoKakizome

강지현

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초록

영어

I derived the characteristic of the genre of Kurohon concerned by will be discussed in more detail creative method circumstances to reverse the original is deployed in the center of the content based on “KanadehonTyusingura” nine-ten-eleven-stages on Kurohon “ThyusinKananoKakizome(ToriiKiyomithu drew and wrote. year of publication 1765)”. First, it is a synopsis of the story. Yuranosuke visited KakogawaHonzo’s hideout in Kyotoyamasina, and watched sketch drawing of Iwanaga’s mansion. Gihei married Kanpei’s younger sister Okaru and ran by Maikoya, and carried by hiding Gishi(Ronin) in Nagamoti what is put the costume of Maiko on the banquet of Iwanaga’s mansion. Okakru and Konami who is the Rikiya’s fiancee, also to participate in the revenge. While the stage show that was reversed while borrowing the phrase of the original, there is also one side immature as a novel called mismatch of text stories and screen. However, a novel idea of how to use the new Nagamoti, role of dialogue, Harugoma, dagger and SenzakiYagoro was grasp. Screen ability as Ukiyoe-painter is exerted is that of course, by using tried and format new text, the idea, in the place that played a role as a pioneer for deriving the golden age Kusazousi, there was a feature of the Kurohon.

일본어

鳥居清満画作黒本『忠臣仮名書初』(明和二<1765>年刊)の『仮名手本忠臣蔵』九・十・十一段に基づく内容を中心に、原作と逆転する立場や境遇が繰り広げられる創作法について詳細に分析・考察することで、当該黒本の様式的特色を抽出しようとした。先ず、ストーリーの梗概をみると、由良之介は京都山科の加古川本蔵の隠居先を訪ね、岩永館の図面を見る。義平は勘平の妹お軽を嫁に迎えて舞妓屋を営み、岩永館の宴会に、舞妓の衣裳を入れた長持に義士らを隠して運ぶ。お軽と、力弥の許嫁小浪も仇討ちに参加して心願叶う。創作方法を具体的にみていくと、原作の九段目文句を借用しつつ逆転された舞台と境遇を以て原作を変容させたり、十・十一段目関連部分においては画面と本文・ストーリーの不一致という小説として未成熟な一面もあるものの、新たな長持の使い方、及び台詞の役割、討入り場面に登場する春駒・九寸五分の短刀・千崎弥五郎、という斬新な趣向が見て取れた。講釈や黄表紙の先駆的手法も駆使され、専門浮世絵師として鳥居清満の力量が発揮される画面は勿論のこと、更に草創期<忠臣蔵物>草双紙として新しい文章と形式、趣向を試みたことで、最盛期草双紙を導き出す魁としての役割を果たしたところに当該黒本の特色があった。

목차

Ⅰ. 들어가며
 Ⅱ. 원작 9단의 변용에 대하여
  1. 역전된 무대와 처지
  2. 원작문구의 차용
 Ⅲ. 원작 10 ・11단의 변용에 대하여
  1. 화면과 본문・스토리의 불일치
  2. 궤짝의 변용 및 대사의 역할
  3. 대단원의 하루고마・단도・센자키 야고로의 의미
 Ⅳ. 흑본과 강담(講釈)
 Ⅴ. 나가며
  1. 화면상의 특징
  2. 본문상의 특징
 參考文獻
 <要旨>

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  • 강지현 전남대학교 국제학부 일본학전공 교수, 일본근세문학

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