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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 저널정보
- 중앙대학교 일본연구소 일본연구 일본연구 제55집
- 발행연도
- 2021.8
- 수록면
- 101 - 125 (25page)
- DOI
- 10.20404/jscau.2021.08.55.101
이용수
초록· 키워드
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This study explores when Utamakura Narumi of Tokaido was included in the waka, whether the intention of Utamakura was formed and established, the discovery of Utamakura brought about by the change of times, and the reality of the Utamakura. The study confirmed how Utamakura influenced the waka.
At first, “Narumi” was sung as part of Koi-uta and Zotoka because it is easy to put “naru” and “urami” on “Narumi no Ura.” However, as “Narumi” prospered as a syuku on the Tokaido and the number of people visiting the site of “Narumi” increased. The vague lagoon scenery that appeared due to the drying up of the sea starting from “Horikawa Hyakushu” took the form of “Narumigata.” Thereafter, in order to match the most suitable scenery to the waka when singing “Narumi-gata,” they tried to connect materials such as Suzumushi, Ajimura, and crane, which are easily associated with the Engo of “Narumi.” I confirmed the attempts of the waka at that time. Finally, plovers, which have been popular as a seaside attraction similar to lagoons, offshores, and beaches, have been added to the scenery of “Narumigata.” In the cold winter of Shin Kokin Wakashū, the scenery of the staggered “Narumi-gata” begins to take root as the scenery of the Utamakura “Narumi” in the title. Furthermore, “Narumi-gata” was selected as the Dai of “Saisho Shitennoin Shoji Waka,” and the sense of urgency in traveling across the tide-dried “Narumigata,” that is, the reality of Utamakura and the feeling of travel, has been added. It came to determine the true meaning of “Narumi” in the Daiei and travelogues since ancient times.
At first, “Narumi” was sung as part of Koi-uta and Zotoka because it is easy to put “naru” and “urami” on “Narumi no Ura.” However, as “Narumi” prospered as a syuku on the Tokaido and the number of people visiting the site of “Narumi” increased. The vague lagoon scenery that appeared due to the drying up of the sea starting from “Horikawa Hyakushu” took the form of “Narumigata.” Thereafter, in order to match the most suitable scenery to the waka when singing “Narumi-gata,” they tried to connect materials such as Suzumushi, Ajimura, and crane, which are easily associated with the Engo of “Narumi.” I confirmed the attempts of the waka at that time. Finally, plovers, which have been popular as a seaside attraction similar to lagoons, offshores, and beaches, have been added to the scenery of “Narumigata.” In the cold winter of Shin Kokin Wakashū, the scenery of the staggered “Narumi-gata” begins to take root as the scenery of the Utamakura “Narumi” in the title. Furthermore, “Narumi-gata” was selected as the Dai of “Saisho Shitennoin Shoji Waka,” and the sense of urgency in traveling across the tide-dried “Narumigata,” that is, the reality of Utamakura and the feeling of travel, has been added. It came to determine the true meaning of “Narumi” in the Daiei and travelogues since ancient times.
목차
1. はじめに
2. 鳴海の始原
3. 鳴海潟の風景
4. 千鳥と鳴海潟
5. むすびに
参考文献
Abstract
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