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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actor alternate wakinō Amaterasu appears artists bakufu Benzaiten bodhisattva Buddhist chanting chūnomai composed composition considered dance demon depiction divine Dōami's Dōmoto Edo Castle featuring feminine deities featuring masculine felicitous style feminine dragon feminine form fifth category fourth-category Furu gaku Hakozaki Haku Rakuten hataraki Hohodemi Hōjōgawa Hōshō human included indicate Ise Monogatari Itō Japanese Jingū kagura kakiage kami kamimai kaminō Kamo Kan'ami Kanze School Kanze troupe Kazuraki kogaki Kongō Kureha Kyōgen main character masculine and feminine masculine deity Miwa mortal mountain Nō drama Nō Kyōgen Jiten Nō plays Nobumitsu noted Oimatsu Omote Omote and Katō performed plays featuring portrayal priest process of canonization repertoire Rimer and Yamazaki ritual role Saoyama Sarugaku Sarugaku Dangi shinnojonomai Shinto Shirahige shogun Shrine spirit stage standard canon sub-wakinō Taema Takasago Tenjin Tennō tennyo tennyomai kaminō third-category play Tokugawa Toyotama tradition treatises trend Ukon waka woman Yōrō Yumiyawata Zeami's Zenchiku Zenpō