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한림일본학 [THE HALLYM JOURNAL OF JAPANESE STUDIES]

간행물 정보
  • 자료유형
    학술지
  • 발행기관
    한림대학교 일본학연구소 [Institute of Japanese Studies]
  • ISSN
    1738-5334
  • EISSN
    2466-1015
  • 간기
    반년간
  • 수록기간
    1996~2017
  • 등재여부
    KCI 등재
  • 주제분류
    인문학 > 일본어와문학
  • 십진분류
    KDC 913 DDC 952
제22집 (8건)
No
1

한일병합 전후 일본어잡지의 조선문예물 번역 연구 :『조선(급만주)』『조선(만한)지실업』『조선공론』을 중심으로

김효순

한림대학교 일본학연구소 한림일본학 제22집 2013.05 pp.5-32

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In this paper, I have examined the aspects of the translation of the literature in 『Chosensijitsugyo(朝鮮之実業)』(1905.5~1907.12)『Mankansijitsugyo(満韓之実業)』 (1907.12~1914.6), 󰡔The Chosen(and)Manshu(朝鮮(及満州))󰡕(1908.3-1941.1), 󰡔Chosenkoron (朝鮮公論)』(1913.4-1944.11) which were issued in the period of Korea- Japan Merge. As a result, the following facts were observed. First, in the period of Korea-Japan Merge, Korean language policy was conducted on the purpose of colonial ruling, accordingly various literatures in this period were published in magazines. Second, many Korean literatures were translated for the purpose of providing information necessary for the settlement of colonial life and communicating with Korean society. Third, they adopted selected translation and meaning translation. Especially『Mankansijitsugyo』provided a detailed analysis on the Korean literatures in order to provide the required information directly into the economy, trade activities of the Japanese in Korean. Fourth, in『The Chosen(and) Manshu』there was an awareness of Korean literature as language arts. This awareness made them try not to damage the value of the original version. Though those three magazines show many changes on traslation object, method, purpose. in the time of Korea-Japan Merge they issued many translation but after 1914, the traslation of Korean literature was sharply reduced. As Japan strengthening the Japanese domination of Korea, Japanese became official language and Korean language training time is reduced and also reduced the need for learning the Korean language as a foreign language.
本論文では韓日併合前後に発行された『朝鮮之実業』(1905.5~1907.12)『満韓之実業』(1907.12~1914.6), 『朝鮮(及満州))』(1908.3-1941.1), 『朝鮮公論』(1913.4-1944.11)に掲載された朝鮮文芸物の翻訳の様相について検討した。その結果、以下のような事実が明らかになった。第一、韓日併合前後には植民政策の実現や統治上の便宜のため、朝鮮語奨励政策が実施され、それによってこの時期の日本語雑誌には多様な朝鮮文芸物が掲載された。第二に、朝鮮社会との交流、植民生活の定着に必要な情報を提供するため、朝鮮社会の実情、風俗、思想などが分かる朝鮮文芸物が翻訳・掲載された。第三に、方法としては抄訳や意訳の方法が取られたことが分かった。特に『満韓之実業』の場合は、現実的に在朝鮮日本人だちの経済、交易などに直接的に必要な情報を提供するために詳しい解釈や分析をつける場合が多かった。第四に、『朝鮮(及満州))』には朝鮮文芸物を言語芸術としての認める考え方と共存していた。これは翻訳の方法にも影響され、原文の言語の質をそのまま生かそうとする方法、すなわち原文を併記する、方言を生かす、韻律を生かすなど直訳の方法を取っている。上記のようにこの時期発行された雑誌は創刊の目的や時期によって、翻訳された朝鮮文芸物の対象や方法などは違っているが、共通的に一九一四年以後は急に途切れてしまう。これは日本帝国の韓国支配が強化されるにつれ、日本語が国語になり、普通学校における朝鮮語教育時間が減少し、外国語としての朝鮮語を学習する必要性も減少することによって現れた結果だと思われる。

6,700원

2

다이쇼 시기 일본ㆍ식민지 조선의 민중예술론 : 로맹 롤랑의 ‘제국’ 횡단

박양신

한림대학교 일본학연구소 한림일본학 제22집 2013.05 pp.33-60

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The theory of the people's art was widely developed throughout Japanese literary art world from the middle in 1910s to early in 1920s. The people’s art was originally considered the means of educational work for the people, which was raised by Honma Hisao. But the significance of the people’s art was changed into the means of struggle for the newly emerging class against the established old society by an anarchist, Osugi Sakae. Le theatre du peuple by Roman Rolland was sometimes mentioned as the theoretical basis for the theory of the people’s art. It is just Roman Rolland that influenced on Colonial Chosun with his idea of vitalism. The society of Colonial Chosun after The March First Movement paid attention to the political appearance of ‘the people’. Accordingly the discussion regarding the people’s art including popularization of literature and art was developed on the stage of mass media such as newspapers and magazines. The theory of the people’s art in the early 1920s quoted Romain Rolland and tended to insist the popularization of art on the level of human life. The theory of the people’s art reemerging in the middle of 1920s tended to obviously depend on Romain Rolland. It means that in comparison with the early theory of the people’s art, was emphasized the art as means of struggle against the established old society
大正日本の文芸界においては民衆芸術論が広く展開された。本間久雄の「民衆芸術の意義及び価値」から始まったこの議論は、「大正デモクラシー」の基盤となっていた「民衆」の政治への登場を背景としていた。本間によって民衆に対する「教化運動の機関」として提起された民衆芸術の主張は、アナキストの大杉栄によってその意義が旧社会に対する新興階級の「戦闘機関」に転換されることになっていた。この民衆芸術論にはその理論的根拠としてよくロマン・ロランの『民衆芸術論』が援用されていたが、その本がその基底に流れていた生命主義とともに植民地朝鮮にも影響を与えることになる。三・一運動の以後、植民地朝鮮の社会にも「民衆」の政治的登場が注目されるようになった。それを背景にして新聞雑誌などには文学・芸術の民衆化、即ち民衆芸術をめぐる議論が繰り広げられるようになる。1920年代初期の民衆芸術論にはロマン・ロランの民衆芸術論が引用されると同時に、生・人生・生活の次元からの芸術の民衆化が主張される傾向がみられた。一方、1920年代半ばに再び登場した民衆芸術論は以前に比べてロランに依拠する傾向が一層強くなってきていた。これは旧社会に対する闘争の手段としての芸術という闘争性がより強調されるようになったことを意味する。

6,700원

3

근대 일본 식민정책학의 전개와 귀결 : 1942년 대일본척식학대회를 중심으로

손애리

한림대학교 일본학연구소 한림일본학 제22집 2013.05 pp.61-90

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본고는 식민정책학을 제국주의국가의 지배도구로서만 이해하는 방식 대신에 그것이 갖는 근대 사회과학으로서의 속성에 주목함으로써 식민지주의와 대동아공영권 구상을 가능하게 한 더 큰 무의식적 지반을 탐색하고자 했다. 구체적으로는 1942년 4월 결성된 대일본척식학회의 창립대회와 그 결과물인 『연보』(1943)를 분석했다. 근대의 분과학문으로서의 위상, ‘동아’라는 지역적 단위의 중시, 식민문제와 사회문제가 교차되는 지점을 강조함으로써 기존의 식민지 지배정책 연구의 시각과 차별성을 갖고자 했다. 본론에서는 우선 일본의 식민정책학의 발달사를 1880년대 초창기부터 1930년대까지 간략히 살피면서 일본 식민정책학의 발달경로를 살폈다. 그리고 척식학회에 대한 사회사적 검토를 한 후, 『연보』에 실린 논문을 세 가지 주제로 나누어 분석했다. 이와 같은 작업을 통해 일본의 식민정책학이 하나의 분과학문으로서의 체계를 갖추면서 발달했지만 동시에 현실 추수적인 경향을 노정했다는 점을 확인했다. 또한 1942년 창립대회는 식민적 성격과 트랜스내셔널한 사회문제의 성격이 혼재된 동아지역의 문제를 해결하고 새로운 이론을 구상하는데 있어서, 이전의 ‘동아협동체론’에 비해 이론적 완성도를 결여하고 비판성을 상실한 논의의 장이었음을 확인했다.
This paper pays attention to the modern social scientific aspects of the studies for colonial policy which enabled the colonialism and the plan for the Greater East Asia Co-Prosperity Sphere. Concretely, it analyzes an inaugural conference of Japanese Colonial Society held on April 1942 and its annual report published in 1943. By highlighting the subjects such as the status as an academic discipline, the regional unit of east asia and the intersecting point of colonial problems and social problems that the studies for colonial policy involve, this research present a great contrast to the existing nationalist researches for colonial domination. At first, this paper traces the developmental paths of the studies for colonial policy in Japan from 1880s to 1930s and then conducts a social historical review on Japanese Colonial Society. Lastly it analyzes the articles in annual report through three topics. The result of the study are as follows: First, though the studies for colonial policy in Japan developed in the system of academic discipline, they ware greatly influenced by political and economic situation. Second, the Japanese Colonial Society tried to construct the theoretical frames to solve colonial problems and transnational social problems in the colonial and occupied areas of East Asia at the same time, but its outcomes were theoretically poor and lost the critical thinking ability.

7,000원

4

목소리로 쇄신되는 ‘조선’ : 1945~1955년의 일본 좌파운동과 조선 이미지

임경화

한림대학교 일본학연구소 한림일본학 제22집 2013.05 pp.91-123

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This paper explores how the Korean images formed during the colonial Korea were reconstructed in the joint struggle by the Japanese Communist Party and Koreans in Japan for their independence from USA, linked to the international communist movement. The both groups who had been in charge of the struggle and also who had been shut up forcibly and exploited before World War Ⅱ promoted the post-war/postliberation social movements, raising their voices. Thus their joint struggles has been represented by the interchange by the voices. Koreans in Japan who interchanged in Japanese were recognized as a node of the East Asian revolution to symbolize the transnational solidarity between Korea and Japan, not the minority in the Japanese society. Focusing on the movement of re-nationalizing Japanese history, utagoe movement and other popular cultures developed by both of them in 1945 to 1955, this study offers a schematic outline on the process of replacing conventional Korean images represented by historical perspective of colonization with ones of national resistance by writing down the voices of the subaltern of Koreans in Japan.
本稿は、敗戦後国際共産主義運動と連動しながら反米民族独立を目刺し日本共産党と左派在日朝鮮人の間で展開された共闘の中で、植民地期に形成された朝鮮のイメージがいかに刷新されていったかを考察したものである。 戦前から弾圧や搾取の中で沈黙を強いられた闘争の主体たちは敗戦/解放とともに声を噴出させながら前後の社会運動を押し進めており、これらの共闘はよく声の交流として表象されるようになった。日本語で交流する在日朝鮮人たちは日本社会におけるマイノリティーとしてではなく、朝鮮民族を代表し代弁する存在であると同時に、朝鮮と日本の民族的連帯を象徴する革命運動の結節点として認識された。本稿では両者の具体的な交流として、朝鮮民族というサバルタンの声に耳を済まそうとした前後日本史学界の国民的歴史学運動の試みやその周辺で繰り広げられたうたごえ運動を含む多様な民衆文化運動などに注目し、闘争の主体たちの声の交流に裏付けられた運動が植民史観に規定された従来の朝鮮イメージを民族抵抗史中心に切り替えるのに多大な影響を及ぼした点を概括的に確認した。 しかし、両者の共闘は失敗に終わり、日本共産党は植民地主義を温存させ続けている日本民族を受け入れ、在日朝鮮人たちは北朝鮮志向の排他的なナショナリズムを強めるようになると、この共闘も旧宗主国と旧植民地民族間の支配従属の構図の中で日本社会内におけるマジョリティとマイノリティの共闘へと次第にその性格を変えていったとみられる。

7,500원

5

오키나와평화기념공원 형성의 다른 경로 : ‘초석론(礎論)’의 영향과 미군정기의 경험

김민환

한림대학교 일본학연구소 한림일본학 제22집 2013.05 pp.125-158

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The Cornerstone of Peace(平和の礎; Japanese: Heiwa-no Ishiji) in the Okinawa Peace Memorial Park is famous for its inscription, under the principle of “equality before death,” of the names of all victims who died in relation to the Battle of Okinawa. This has been praised for overcoming the limitations of nationalism and militarism, which have been adopted by most existing memorial parks for the war dead. However, the transparent logic of “equality before death” has been polluted by the praxis of forces who have (intentionally) mistaken the Cornerstone of Peace as an Okinawan version of the Foundation of Peace(平和の礎; Japanese: Heiwa-no Ishizue). The Foundation of Peace is a structure that reflects the logic that Japan’s past hardships such as World War II served as the basis of the nation’s “peace” and “prosperity” in the 1960’s, and this has been linked to the eulogization of the country’s past militarism. In addition, its way of inscribing the names of all of the dead regardless of their respective nationalities is very similar to the tactical attitude of the conservative force of Okinawa, who, though they wished to memorialize only the Japanese soldiers killed but could not but include American soldiers sacrificed in the war in consideration of the US military, which was the actual ruling force. Consequently, the Cornerstone of Peace has become an entity onto which are projected not only the intentions of the critical civil society within Okinawa but also the desire of the conservative force in the area or Japan itself. As such, the monument cannot be supported wholeheartedly by South Korean civil society.
沖縄平和記念公園の「平和のいしじ」は、「死の前の平等」という原則の下に沖縄戦闘に連結しており、死亡した全ての被害者の名を刻んでいるということで有名である。これは現在まで世界中にある戦争に関する記念物の中でも、戦時下の中で命を落とした軍人たち、または戦争には直接参加はしなかったが、その戦争のために命を落とした者たちの大部分を記念公園において奉っているという点で、ナショナリズムとミリタリズムの限界を超えたという賞賛を受けた。しかし、「死の前の平等」というこの透明な論理は「平和のいしじ」を「平和の礎(いしずえ)」の沖縄バージョンとして(意図的に)誤解した勢力たちの実践のために穢れることになった。「平和の礎」は第2次世界大戦など、日本の過去の苦難が1960年代の日本の「平和」及び「繁栄」の基礎になったという論理を反映するモニュメントであるが、これは過去の日本軍国主義の称揚に繋がった。また、国籍と関係なく死亡した者全ての名を刻むというやり方は、死亡した日本「軍人」のみを慰霊したかったのだが、現実の統治勢力である米軍を考慮して仕方なく米軍の犠牲者も含めるしかなかった沖縄の保守勢力の戦略的な態度とも非常に似通っている。このために、「平和のいしじ」は沖縄内部の批判的な市民社会の意図のみならず、日本あるいは沖縄内部の保守的な勢力の欲望をも同時に投射された存在になってしまった。これを韓国の市民社会が全面的に支持するのは困難なことだった。

7,600원

6

아시아 개발주의 원(原)풍경 : 수풍댐 이미지

김은혜

한림대학교 일본학연구소 한림일본학 제22집 2013.05 pp.159-185

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This study examines Su-Pung Dam’s images as Asia developmentalism archetypal landscape which was built in the Amnok River 1937∼1941. Through the browsing the ‘NHK Archives’ collected Su-Pung Dam’s images(PR film, ‘Nippon News’, and ‘NHK Special Program’), the meanings of them have been analyzed in multi-dimensional dimension. Su-Pung Dam was the archetype of ‘the development package’ structure (the technical services engineer’s business proposals, national government’s assignment of development rights, and the production of the PR film). PR film of dam development has played a role in funding for construction, the represented spectacles justified the development and colonial rule. Su-Pung Dam’s images have been made of visibility (spectacle, technology, legitimacy to rule), invisibility (submergence-labor-burial site), and the nostalgia (Ouryokobushi, the Amok River’s folk song). The ‘dam development package’ constructed in late 1930s has reproduced post-war Japan Sakuma Dam’s construction nationally and expanded in Asia’s service indemnity in 1950s. Su-Pung Dam’s images have re-emerged in the process of socialist nation-building of North Korea (stamps, state emblem, money). The So-Yang dam was constructed after the Korean-Japanese Conference, was the symbol of regime Competition between South and North Korea. I aimed to examine the trajectories of Su-Pung Dam’s development structure and images in the social relation’s perspectives.
この研究は、アジア開発主義の原風景として, 鴨緑江に建設された「水豊ダム(1937-41年)」のイメージを分析したのである。「NHKアーカイブズ」に収集された「水豊ダム映像(PR映画, 日本ニュース, NHKスペシャル)」を通じて、「水豊ダムイメージ」を立体的に眺望してみた。水豊ダムは、「開発パッケージ(技術エンジニアの事業提案、国家による開発権の配分、PR映画製作)」の構造の原型であった。PR映画は、開発資金を確保した後、「スペクタクル」を再現し、開発と支配を正当化した。水豊ダム映像は、「可視性(建設のスペクタクル-技術-支配の正当性)」と「非可視性(水沒·労動·萬人坑)」、そして「ノスタルジア(小唄·鴨□江節)」で構成された。1930年代、水豊ダムの開発パッケージは、1950年代日本国内の「佐久間ダム建設」と「アジア賠償ビジネス」で拡大·再生産された。水豊ダムイメージは、北朝鮮の社会主義、国家建設過程で再登場した(切手·国章·貨幣)。韓日会談以後、韓国(水豊ダムより高く)建設された「昭陽江ダム」は、体制競争の象徴であった。この論文は、水豊ダムの「開発構造とイメージの軌跡」を「社会的関係」の観点で分析してみた。

6,600원

7

근세~근대초기 적군전사자공양과 원친평등

이세연

한림대학교 일본학연구소 한림일본학 제22집 2013.05 pp.187-216

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This article discuss the trends of buddhist community in early modern Japan to explain the development of the logic of onshinbyodo(怨親平等-one's foe and friend is equal) in a connoisseur-historical viewpoint. The logic of onshinbyodo originated in medieval Japan had been severed according to the advent of Pax Tokugawa. But, the examples of onshinbyodo as word had increased through Pax Tokugawa, although there had not been any civil wars reminding the logic of onshinbyodo. Many monks usually had talked about onshinbyodo without introducing any authorities in Meiji era, which means that onshinbyodo was a term of common sense for them. In short, the rail for the logic of onshinbyodo in Meiji era had been constructed through Pax Tokugawa. Considering the spread of the examples of onshinbyodo in Pax Tokugawa, it is not wonder if the logic of onshinbyodo had been developed from the war of Boshin(戊辰). But, the evidence of the logic of onshinbyodo was found from the war of Seinan(西南). These trends were linked with the stance of Meiji government about the requiem for fallen soldiers. Under the trend of anti-buddhist movement involving Meiji government, buddhist community could not preach the logic of onshinbyodo publically. But, according to the promulgation of the document of cabinet(太政官達) in 1874, allowing the requiem for foe, the logic of onshinbyodo had been resurfaced. There had been not only the logic of onshinbyodo which can be understood in the context of mercy, but also the logic of onshinbyodo understood in the context of salvation of Amitabha(阿弥陀仏). These cases suggest that the logic of onshinbyodo in late Meiji era, Taisyo era, and Showa era would not be understood just in the context of mercy.
本論文は、中世〜近現代日本社会における「怨親平等論」の展開様相の把握という通史的視点から、これまで明らかにされてこなかった近世〜近代初期における怨親平等の保管問題などについて検討したものである。中世禅林で浮上した「怨親平等論」は、島原の乱以降、平和時代の到来とともに断絶された。しかし、怨親平等の用例そのものは、この平和時代を通して、むしろ幅広く流布していった。怨親平等を語る近代の僧侶のほとんどは典拠を提示しないが、これは、怨親平等が彼らにとって常識に近い言葉だったことを示唆する。怨親平等をめぐる彼らの常識は、祖師信仰・教学振興・出版文化が絡み合った近世仏教の展開過程を通じて築き上げられたものであり、近代の「怨親平等論」へつながるレールは近世を通して確実に敷かれつつあったといえる。近世における怨親平等の用例などに鑑みれば、「怨親平等論」は戊辰戦争期から展開されても不思議ではない。だが、「怨親平等論」の明確な形跡は、西南戦争期から見えはじめる。こうした動向は、戦死者祭祀についての明治政府の方針に連動したものである。廃仏毀釈の嵐のただなか、官賊の峻別という政府の方針を熟知していた仏教界は、公然と「怨親平等論」を説くことができなかった。しかし、1874年に公表された太政官達をきっかけに敵方戦死者供養のことが喚起され、ついに「怨親平等論」が復活する。その内容をみてみると、<敵方戦死者供養=慈悲>という通説をもって説明可能な「怨親平等論」もあれば、阿弥陀仏を主体とする一風変わった文脈の「怨親平等論」も存在した。西南戦争期において確認される「怨親平等論」は、近代の「怨親平等論」が慈悲の文脈をもって捉えきれないことを予期するものだった。

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「伎樂」追跡考 - ‘舞’에서 ‘樂’으로

서정완

한림대학교 일본학연구소 한림일본학 제22집 2013.05 pp.217-256

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The propagation of ‘Gigaku/Kiak dance’ by Mimasi/Mimaji should be considered as part of the course of history in which the ancient Japanese power accepted Buddhist culture positively from Baekje. As there existed the art of 'Gigaku/Kiak' and its internal exchange in East Asia, considering the propagation of ‘Gigaku/Kiak dance’ by Mimasi/Mimaji as part of this wide trend can make it possible for us to look into the dynamics of the history of art or culture. The main points of the study is as follows. First, 'Gigaku/Kiak dance' in NihonShoki(日本書紀, Japanese Chronicles) should be conceived as 'dance(舞)', and this perspective allows us to clarify the changing trajectory of Gigaku/Kiak. Second, We should give attention to the facts as an indication of its decline that Gigaku/Kiak (dance) disappeared from the Royal Court by around 850 and the scores of Gigaku/Kiak as a musical piece rapidly increased from the tenth and eleventh century, and this facts suggest that there existed some connection between the prevalence of Gagaku/Aak(雅樂) and the decline of Gigaku/Kiak dance. Third, the incorporation of Gigaku/Kiak dance into the music of Gagaku/Aak, mostly the flute(橫笛), can be considered as part of the development of art from 'dance' to 'Gagaku (music)'. Fourth, another reason for the decline of Gigaku/Kiak (danece) may be that the compulsory labor of Gigaku/Kiak dance became too heavy a burden for the people in charge since the Heian period. Fifth, it is estimated that, in its composition, Chido(治道), Sisi(獅子, lion), and a body of Kongo(金剛), Karura(迦樓羅), Konron(崑崙) and Rikisi(力士) are part of the original conveyed by Mimasi/Mimaji, and inquiring into unstable and stray characters like Gojyo(吳女·五女) and Baramon(波羅門) may provide a clue as to the whole story of the transformation of Gigaku/Kiak (dance), also giving an opportunity to answer the issue whether the obscene content of Kyokunsho(敎訓抄) is the original of Gigaku/Kiak dance by Mimasi/Mimaji. Sixth, in other words, it is possible that 'Gigaku(妓樂)' shown in Kyokunsho is not that of Mimasi/Mimaji, and considerable transformation and confusion by errors can be contained in it. Seventh, the existing study on Gigaku/Kiak (dance) which has developed with its focus on Kyokunsho should undergo more considerate re-examination, and Korean study on Gigaku/Kiak (dance) which accepted this Japanese study should take a more empirical attitude towards this study including issues about the Gigaku/Kiak of Beakje and Goryeo. And to secure proper verification and confidence in it, we should, firstly, conduct a concrete investigation into the two regions, ‘Kure(吳)’ and 'Sakurai(櫻井)', and secondly, re-examine the existing analysis of the composition of Gigaku/Kiak dance and the roles of characters from the perspective that explaining the wide gap between the elegant dance of Rikisi(力士) of Manyoshu and the obscene one of Kyokunsho is essential to clarify the essence of the transformation of Gigaku/Kiak (dance). These microscopic studies are important in themselves, yet it is more important to position the study on Gigaku/Kiak (dance) within the wide frame of the history of art, and to interpret its significance in it. It will include the intersection and negotiation of various social, political and cultural elements, and enlighten the traces and vestiges that the precedents left in the later arts and culture. Studies with this objectives will allow us to make a sketch of the history of art, culture and society with its focus on Gigaku/Kiak dance.
味摩之による伎楽舞の伝播は、百済から積極的に仏教と関連文物を輸入する流れの一貫として捉えるべきである。さらには東アジアに「伎楽」なる芸能が存在し域内での交流が行われている事実が確認されるが、味摩之による伎楽舞の伝播をこのような大きな流れとして捉えることでより大きな芸能史あるいは文化史の動的様態を垣間見ることができる。本稿の要点は、以下の通りである。①󰡔日本書紀󰡕の「伎楽舞」を舞として認識する必要があり、それによって伎楽変容の軌跡を明らかにすることができる。②伎楽(舞)衰退の兆しとして850年頃から伎楽が朝廷から姿を消している事実に注目すべきで、10~11世紀から伎楽関連資料に楽譜が急増するがこれは雅楽の盛行と伎楽の衰退が無関係でないという解釈を可能にする。③さらには伎楽舞が雅楽の楽曲(主に横笛)として編入されているが、これは「舞」から「楽」へと移行する芸能の展開過程の一つと見ることができる。④一方で平安時代以降になると伎楽(舞)を担当した百姓にとってこの賦役は負担であったということが確認できるが、このおような現実的な問題も伎楽衰退の理由の一つであろう。⑤また、その構成に関しては治道と師子、そして〈金剛・迦樓羅・崑崙・力士〉の一まとまりが味摩之の伝えた伎楽舞の原型の一部分と推定され、五女․呉女、波羅門などのように揺れのある登場人物への究明が伎楽舞変容の全貌を紐解くための手がかりになり得り、󰡔敎訓抄󰡕によって伝わる猥褻的な内容が味摩之の伝えた伎楽舞の原型なのかに対する問題を再検討する起点にならなければならないだろう。⑥換言すれば、󰡔敎訓抄󰡕の「妓楽」は既に味摩之が日本に伝えた伎楽舞ではなく、相当の変容あるいは誤謬による混同などが内包されている可能性がある。⑦したがって、󰡔敎訓抄󰡕を中心に展開された既存の伎楽研究はより慎重な再検討が必要であり、このような日本の研究をそのまま受け入れてしまった韓国の伎楽研究もまた百済伎楽、高麗伎楽の問題を含めてより実証的な姿勢で望む必要があろう。そして、このような内容に対してより明確な確認と確信を裏打ちするためには、ⓐ「呉」「桜井」という二つの地域に対する具体的な検証作業が必要であり、ⓑ󰡔萬葉集󰡕で素材とする力士の優雅な舞と󰡔敎訓抄󰡕が伝える猥褻的な舞との間に存在する大きな偏差に対して説明することが伎楽(舞)変容の本質を究明する作業になるという立場から伎楽(舞)の構成と登場人物の役割に対する分析と再検討が要求される。しかしながら、このような微視的な研究もさることながらそれ以上に重要なのが伎楽研究を芸能史という大きいなフレームで捉えた伎楽の位置づけとその芸能史的意味に対する解釈であろう。もちろん、ここには社会的、政治的、文化的な各要素の交錯と交渉が含まれるのであり、後代の芸能や文化に残した痕跡と軌跡を明らかにする作業になるであろう。伎楽研究がこのような形で行われることによって、伎楽(舞)を中心として鳥瞰した芸能史、文化史、社会史の下絵を描くことができるであろう。

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