京都大学 / 0048 / 新制・課程博士 / 博士(文学) / 甲第22184号 / 文博第831号 / 新制||文||689(附属図書館) / 京都大学大学院文学研究科文献文化学専攻 / (主査)教授 金光 桂子, 教授 大槻 信, 講師 田中 草大, 大谷 雅夫 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

京都大学 / 0048 / 新制・課程博士 / 博士(文学) / 甲第22172号 / 文博第819号 / 新制||文||685(附属図書館) / 京都大学大学院文学研究科文献文化学専攻 / (主査)教授 金光 桂子, 教授 大槻 信, 准教授 河村 瑛子 / 学位規則第4条第1項該当 / Doctor of Letters / Kyoto University / DGAM

『新古今和歌集』が優れた作品である一因として、和歌の配列が挙げられる。本学位論文では、本家集における和歌の配列の仕組みを分析することにより、配列に見られる撰者たちの方針意図を解明する。とりわけ歌枕、体言止め、本歌取りの三つの修辞技巧に着目して、それらが和歌の配列に対して、重要な要素であることを解き明かす。 / "Shinkokinwakashu", or “The New Kokinshū", is usually considered an extremely refined literary work, but the reason why is far from being just the quality of its single chosen poems. As a matter of fact, the excellence of this anthology is also given by the way the poems are organized in progression. In this dissertation, starting from a direct analisys of the poem sequences in the anthology, I tried to figure out what the motivation at the core of the compilers' choises was. In particular, I tried to clarify how famous place names, nominal stops and allusive variations convey a very profound sense of cohesiveness to some poem sequences. / 博士(国文学) / Doctor of Philosophy in Japanese Literature / 同志社大学 / Doshisha University

《古今和歌集》是最早的敕撰和歌集，於延喜五年（905年）成立，其編撰者為紀友則・紀貫之・凡河内躬恒・壬生忠岑。歌數約為一一一〇首，由二十巻構成。在卷別上，分為春（上下巻）・夏・秋（上下巻）・冬・賀・離別・羇旅・物名・恋（巻一～巻五）・哀傷・雑・雑体・大歌所御歌。歌風屬纖細優美。一一一〇首和歌之中，由四季歌（342首）及戀歌（360首）二大支柱構成，四季歌是依據季節的推移來排列。而戀歌是依戀愛的進行過程來排列，其排列被認定具有時間性之推移。因此，本論文將以《古今和歌集》的戀歌為對象，透過「晨與夜」「夢境與現實」「昔時與今日」等時間性之對照表現，來解析戀歌。 本論文首先將和歌分類，整理出同性質之和歌。其次，分析各類和歌中之對照表現，並考察各和歌中對照表現之意義。 本論文由六章構成，第一章論述研究目的等內容。第二章從和歌與戀歌的本質開始，探討《古今集》戀歌的本質及構成，並分析《古今集》戀歌中的時間特質。第三章以「晨與夜」的對照表現為中心。其中分為「特定的晨與夜」、「不特定的晨與夜」二個主題，來探討《古今集》戀歌中晨與夜的對照表現。第四章以「夢境與現實」為中心，其中分為「想於夢中相會」→「無法在夢境相會」→「夢中會面」→「現實中會面」→「無法再於夢境相會」等五個主題來探討。第五章是以「昔時與今日」為中心來分析。分為「相遇之前的昔時與相遇之後的今日」及「相愛的昔時與離別後的今日」二個主題，來考察歌中「昔時」與「今日」的對照表現。第六章是透過與《萬葉集》的比較，來釐清《古今和歌集》中時間性對照表現的角色與意義。 / “Kokinwakashuh” is the first waka collections that Japanese Emperor chose, and it was compiled around the year 905. The editors are Ki no Tsurayuki, Ki no Tomonori, Oshikochi Mitsune, and Mibu no Tadamine. The chapters are Spring, Summer, Fall, Winter, Congratulations, Partings, Travel, Acrostics, Love, Laments, Miscellaneous, Miscellaneous Forms, and Traditional Poems from the Bureau of Song. The style is courtly elegance of classical, disciplined beauty. In these 1100 poems, the four season Poems and ‘koinouta’ (Love Poems) are two pillars. The Seasons Poems are arranged according to the transition of seasons. The ‘koinouta’ (Love Poems) are arranged according to the process of love, and there is the transition of time in the arrangement. It is admitted that time is a critical factor in Poems of “Kokinshuh”. Therefore, the ‘koinouta’ (Love Poems) of “Kokinwakashuh” is the subject in this thesis. The ‘koinouta’ (Love Poems) are analyzed through the contrastive expression of time, like ‘morning and night’, ‘dream and reality’ and ‘past and present’. In this thesis, poems were classified first, and the homogeneous poems were put together. The contrast expression in the poems of each kind was analyzed, and the meaning of the contrast expression in each poem was investigated. This thesis consists of six chapters. The purpose of research was discussed in Chapter 1. In Chapter 2, the theory is progressed from the essence of the waka and the ‘koinouta’ (Love Poems). In the same chapter, essence and the composition of the ‘koinouta’ (Love Poems) were examined, and the time characteristic in ‘koinouta’ (Love Poems) of “Kokinwakashuh” was analyzed. In Chapter 3, it centered on the contrast expression of ‘morning and night’. It is separated for two subjects, ‘specific morning and night’ and ’unspecific morning and night’. In Chapter 4, it centered on the contrast expression of ‘dream and reality’. It is separated for five subjects. In Chapter 5, it centered on the contrast expression of ‘past and present’. It is separated for two subjects. In Chapter 6, the role and the meaning of a time contrast expression in “Kokinwakashuh” were clarified through the comparison with “Manyoshuh”.