The Formation of the Canon of Nō: The Literary Tradition of Divine Authority"日本文化の精粋として理解されている“能”の古典性は能そのものの内在的な価値評価から確立されたのか.アメリカで盛んに論議されている芸術的評価基準の理論「カノン理論」を適用して問い直し,能が特定の価値観に基づいて“古典化”されていった過程を,主に一番目物(神能)を中心として歴史的に解明する. 日本文化研究者(外国)のみならず,国内の古典芸術研究者,能楽関係者には必読の文献." |
Contents
INTRODUCTION | 1 |
Precedents for Early KaminŎby Zeami 21 224 | 18 |
Preliminary Conclusions | 34 |
Copyright | |
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according actor aged alternate wakinō appears artists associated bakufu bodhisattva Buddhist canon chanting Chapter characterized classified clearly composed composition considered context conventional court dance dated demon depiction discussion divine dominant dragon early especially established example exhibits expression featuring felicitous feminine deity figure five four Furu human included indicate Japanese kami kamimai kaminō Kan'ami Kanze kogaki Konparu Kureha later legend main character major manifestation masculine deity Miwa mortal mountain nature Nobumitsu noted observed Omote originally pattern performed period plays popular position practice present priest principle records repertoire represented revealed revision Rimer and Yamazaki ritual role School seems setting Shinto shogun Shrine significant spirit stage standard structure style sub-wakinō suggest Takasago Tennō tennyo tennyomai term Tokugawa tradition treatises tree trend troupe Ukon viewed woman women Zeami's Zenchiku