建礼門院右京大夫の詠作手法 : 表現摂取という視点から

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  • ケンレイモンイン ウキョウ ノ ダイブ ノ エイサク シュホウ ヒョウゲン セッシュ ト イウ シテン カラ

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This paper discusses representational characteristics of Ukyonodaibu's, among her Wakas in The Collection of Kenreimonin-Ukyonodaibu, by pointing out and investigating into the representational similarity to the preceding pieces of Waka. As for the Wakas for which it is possible to indicate the latest limit of the period when they are composed, the meaning of their position in the Collection is closely examined. As a result, it can be suggested that these Wakas are added to the volume later as the form of the Collection are properly arranged. The groups of Daiei-ka and Tanabata-ka are individually analyzed so that it is clarified that each is constructed with the lucid consciousness of the orderly structure. Many Wakas, whose representation is literally traced from the preceding ones, are included in the volume. The fact that the number of such pieces are much more than ever identified is an important key to re-evaluate Ukyonodaibu's reputation as a poet of her time.

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