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2017年10月19日

 記事のカテゴリー : 受賞図書

●第39回角川源義賞[文学研究部門]に、佐々木孝浩『日本古典書誌学論』(笠間書院)。[歴史研究部門]に、上原兼善『近世琉球貿易史の研究』(岩田書院)

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第39回角川源義賞[文学研究部門]に、佐々木孝浩『日本古典書誌学論』(笠間書院)。[歴史研究部門]に、上原兼善『近世琉球貿易史の研究』(岩田書院)が決定しました。

贈呈式・祝賀会は、12月13日(水曜)、ホテルメトロポリタンエドモントにて。

○上原兼善『近世琉球貿易史の研究』(岩田書院)
http://www.iwata-shoin.co.jp/bookdata/ISBN978-4-86602-957-3.htm

○ 佐々木孝浩『日本古典書誌学論』(笠間書院)

70808_k.jpg

佐々木孝浩『日本古典書誌学論』(笠間書院)
ISBN978-4-305-70808-3 C0095
定価:本体9,000円(税別)
A5判・上製・函入・564頁

書誌学は、文学作品を読み解く上で何の役に立つのか。
巻物や冊子といった書物の装訂や形態にはヒエラルキーがあり、書物とそこに保存されるテキストには相関関係がある。また書物に保存されているのはテキストのみではなく、書物とテキストにまつわる様々な情報も秘められているのである。そうした相関性や情報を把握した上で、作品を具体的に読み解く必要がある。
既存の文学研究では明らかにできなかった事柄を、書誌学的な「読み」によって示す、古くて新しい書誌学の具体的活用法!

【本書にまとめた論文は、「書誌学研究は文学研究において何の役に立つのか」という、世に珍しい書誌学の研究所に所属し、古典籍に囲まれながら書誌学の講義を二十年続けてきた自分にとっての、大きな命題に対する答えとして書いてきたものである。......書誌学は文学研究の基礎を固める学問である、これを疎かにした研究を行うと永遠に真実に辿り着けないのである。既存の文学研究に何が足りなかったのか、そのことを考えることが、書誌学を役立たせる方法をはっきりと教えてくれたのである。】......「あとがき」より

【......内容を深く検討するためには、まずその本文の器たる書物の書誌的な情報を抽出し、それを活かしてその本文の性格や価値を確定した上で、研究に用いるように心掛けることが大切であることを明らかにできたものと確信する。これを行うことによって、誤りが少ないより本格的で深い研究が可能となるのである。......基礎的にして即物的でもあるこの研究方法の有効性は、考察を重ねても揺らぐことはないはずである。】......「おわりに----本書で明らかにしたこと」より

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TheBibliographicalStudy.jpg

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【連絡先】
〒101-0064
東京都千代田区猿楽町2-2-3
笠間書院 WEB編集部 
●メール
info@kasamashoin.co.jp

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■著者紹介

佐々木孝浩(ささき・たかひろ)

1962年2月山口県生まれ。
慶應義塾大学文学部卒業。同大学大学院博士課程中退。
国文学研究資料館研究情報部助手を経て、慶應義塾大学附属研究所斯道文庫に勤務。現在教授。
専門は日本書誌学および中世和歌文学。
論文に、
「六条藤家から九条家へ―人麿影と大嘗会和歌―」(『藝文研究』第53号、1988・7)
「『とはずがたり』の人麿影供―二条の血統意識と六条有房の通光影供をめぐって―」(『国語と国文学』第70巻7号、1993・7)
「後鳥羽院と恋歌―和歌と信仰の関係をめぐって―」(『明月記研究』第10号、2005・12)
「中世歌合諸本の研究(八)―『歌合 建保三年六月二日』について・附校本―」(『斯道文庫論集』第40輯、2006・2)
「蹴鞠文学の可能性―散佚物語『扇流し』をめぐる臆説―」(『藝文研究』第91号第1分冊、2006・12)
「『僻案抄』解題」(『古今集注釈書影印叢刊1 僻案抄』勉誠出版、2008・11)
「尾州家本源氏物語の書誌学的再考察」(『文学・語学』第198号、2010・11)
「家集としての『慕帰絵詞』―巻五第三段の歌会場面存在の意味について―」(『中世と物語と絵画』竹林舎、2013・5)
「出来の悪い古活字版―慶長元和頃刊『新古今和歌集』の性格をめぐって―」(『斯道文庫論集』第48輯、2014・2)
「断片の集積体―「古筆手鑑」という存在―」(『集と断片 類聚と編纂の日本文化』勉誠出版、2014・6)
「日本の絵入り本の歴史―絵本が出版されるまで」(『出版文化の東西 原本を読む楽しみ』慶應義塾大学出版会、2015・4)
などがある。

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直接小社まで、メール info@kasamashoin.co.jp または下記のフォームで、購入希望としてご連絡ください(書名・冊数・お名前・ご住所・電話番号を明記してください)。
http://kasamashoin.jp/mailform.html

■オンライン書店でのご購入はこちらをご参照ください
http://www.hanmoto.com/bd/isbn/9784305708083

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【目次】
はじめに

□序編
第一章 日本古典書誌学論序説

はじめに
一 和本の装訂の種類
①巻子装 ②折本 ③粘葉装 ④綴葉装 ⑤袋綴
二 装訂と作品の関係
①巻子装 ②折本 ③粘葉装 ④綴葉装 ⑤袋綴
三 装訂の格と改装
おわりに
第二章 日本語の文字種と書物の関係について
はじめに
一 日本語の文字の種類
二 文字種と装訂の関係
三 文字種と版式の関係
おわりに

□第一編 巻子装と冊子本
第一章 冊子本の外題位置をめぐって

はじめに
一 書誌学文献における題簽位置の記述
二 入木道伝書における題簽位置の記述
三 歌書の古写本にみる外題の位置
四 物語の古写本にみる外題の位置
五 外題位置の違いが意味すること
おわりに
第二章 絵巻物と絵草子―挿絵と装訂の関係について―
はじめに
一 巻子装と物語
二 絵巻物という存在
三 絵入り本という存在
四 絵入冊子本の登場
おわりに

□第二編 巻子装と歌書・連歌書
第一章 勅撰和歌集と巻子装

はじめに
一 日本における巻子装
ア巻子装の日本伝来 イ巻子装の地位
二 巻子装と勅撰和歌集
ア勅撰集と巻子本の関係 イ勅撰集奏覧本の姿
三 勅撰集奏覧本の実態
A金葉集(三奏本)・詞花集 B千載集 C新古今集
D新勅撰集 E続古今集 F風雅集 G新千載集 
H新続古今集
四 奏覧本の清書者
五 現存する奏覧本
ア『風雅集』竟宴本 イ『新続古今集』中書本・再清書本 ウ伝為家筆『続後撰集』切
エ伝為世筆『新後撰集』・『続千載集』切 オその他の巻子本切
六 天皇周辺の巻子本
おわりに
第二章 勅撰和歌集の面影―『新撰菟玖波集』の巻子装本をめぐって―
はじめに
一 『新撰菟玖波集』の巻子装
二 『新撰菟玖波集』成立に纏わる伝本
ア草案本 イ中書本 ウ奏覧本
三 奏覧本の可能性の書誌的検討
四 奏覧本の可能性の本文的検討
おわりに
慶應義塾大学附属研究所斯道文庫蔵『新撰菟玖波集』存巻一【翻刻】
第三章 巻子装であること―早稲田大学図書館蔵『新撰菟玖波集〔政弘句抄出〕』をめぐって―
はじめに
一 もう一つの『新撰菟玖波集』巻子本
二 『新撰菟玖波集〔政弘句抄出〕』の書式
三 その本文
四 その成立過程
おわりに
早稲田大学図書館蔵『新撰菟玖波集』一軸【翻刻】

□第三編 源氏物語と書誌学
第一章 「大島本源氏物語」の書誌学的研究

はじめに
一 従来の学説
二 従来説への疑問
三 問題点の再検討
四 大島本の奥書
五 大島本の親本
六 藤本孝一氏説の再検討
ア若紫末尾の四行 イ柏木巻末の問題
おわりに
第二章 二つの「定家本源氏物語」の再検討―「大島本」という窓から二種の奥入に及ぶ―
はじめに
一 定家自筆本と奥入残存本文の関係
二 六半定家本の特徴
三 六半定家本の書写時期
四 四半定家本の特徴
五 四半本と青表紙
おわりに
第三章 「大島本源氏物語」続考―「関屋」冊奥書をめぐって―
はじめに
一 「大島本」解釈の問題点
二 「関屋」奥書の解釈
三 大島本「関屋」冊の本文
四 大島本「関屋」冊の書き入れ
おわりに

□第四編 平家物語と書誌学
第一章 書物としての平家物語

はじめに
一 室町時代以前の平家物語写本
 『平家物語』古写本の略書誌一覧
二 『平家物語』写本の形態的特徴
三 『平家物語』内題のあり方
四 その他の特徴
おわりに
第二章 巻子装の平家物語―「長門切」についての書誌学的考察―
はじめに
一 「長門切」の基礎情報
二 「長門切本」が巻子装であること
三 「長門切本」の大きさと界線の問題
四 「長門切本」の書風の問題
五 「長門切本」は絵巻詞書か
おわりに
第三章 「屋代本平家物語」の書誌学的再検討
はじめに
一 書誌事項の再確認
二 書誌事項の再検討
三 屋代本の書写時期の検討
四 屋代本の補写の問題
おわりに

□第五編 古典文学と書誌学
第一章 定家本としての枕草子

はじめに
一 三巻本枕草子の呼称の問題
二 安貞二年奥書の記主の問題
三 安貞二年奥書の再確認
四 定家本としての特徴
五 定家本の受容
六 定家本の抄出本
七 定家本の流布の問題
おわりに
第二章 書物としての『枕草子抜書』
はじめに
一 研究史と伝本
二 伝本の書誌情報
三 伝本の関係
四 連歌書としての性格
おわりに
第三章 書物としての歴史物語
はじめに
一 歴史物語古写本の書誌情報
A栄花物語 B大鏡 C今鏡 D水鏡 E増鏡
二 歴史物語の書物としての特徴
三 歴史物語に対する当時のジャンル意識
おわりに
第四章 室町期東国武士が書写した八代集―韓国国立中央図書館蔵・雲岑筆『古今和歌集』をめぐって―
はじめに
一 韓国国立中央図書館蔵の『古今和歌集』
二 韓国国立中央図書館蔵の『拾遺和歌集』
三 雲岑筆写本を求めて
四 雲岑筆『後撰集』・『後拾遺集』・『金葉集』
五 雲岑の素性
六 雲岑筆八代集の位置付け
おわりに
第五章 長門二宮忌宮大宮司竹中家の文芸―未詳家集断簡から見えてくるもの―
はじめに
一 室町期の断簡から見えてくるもの
二 竹中(武内)家の文芸活動
三 竹中家の和歌短冊
四 竹中家の歌道師範と書流
五 「大島本源氏物語」と竹中家
おわりに

おわりに―本書で明らかにしたこと

初出一覧 
あとがき 
目次(英訳)
おわりに(英訳)
索引(人名・書名)

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■推薦文

世界の研究者、司書に向けて
書誌学の重要性を啓発

野口契子 [のぐち・せつこ]
アメリカ・プリンストン大学東アジア図書館日本研究司書


 『日本古典書誌学論』は、長年書誌学に重点をおいて古典籍を研究してきた著者の研究を纏めたものである。「書誌学」は、文化の発展に伴い多様化しているが、北米ではデジタル・ヒューマニティーズ(人文学におけるデジタル技術の利用)の発達に伴い、その重要性が再認識されている分野でもある。従来の書誌学に加えて科学的な分析・考証に重きが置かれるとともに、最近では本の歴史や印刷文化についての講義や研究会を今まで以上に多く目にする。北米に所在する日本の古典籍においても、近い将来デジタル化が進み、国際的なプロジェクトに繋がる可能性も高い。当然書誌学的な考証・分析が求められるわけだが、多くの本を検証することのままならない私達は、とかく入手できる範囲の情報に頼り判断を下しがちである。本書の「あとがき」で、著者は「書誌学を疎かにした研究を行うと真実に辿り着けない」としているが、本著で紹介された研究は、具体的な分析方法を示すとともに、警鐘をも与えるものである。諸本と相対する前に、是非目を通しておいてほしい。
 本書は、序編を含む六編で構成され、計十八編の単著を所収する。五六〇頁に及ぶ厚みのある一冊は、古典文学を研究する上での書誌学の重要性を啓発する著者の声であり、いわば国文学研究に一石を投じるものである。
 序編で和本の装訂、文字種、版式といった事項と内容との関連性について述べ、その上で、第一編で巻子装が冊子体に与えた影響、第二編で巻子装の歴史と位置づけ、及び著者の専門でもある歌書との関係へと続けている。また、第三編では『大島本源氏物語』と奥書の例に基づく書誌学の重要性、第四編で形態、題等の書誌情報から見る『平家物語』の種類、第五編においては『枕草子』や歴史物語の伝本の書誌学的考察と、具体的な方法を示しながら様々な論考を展開している。「書誌学」という観点から行われた、綿密な調査と分析から成り立つ研究はどれも奥が深く、かつ新鮮である。巻末に英文の目次と抄訳もある。国内はもとより、海外の研究者、司書にも推薦したい。


わが導き手

渡部泰明 [わたなべ・やすあき]
東京大学教授

 佐々木孝浩氏には昔から教導を得てきた。それは、柿本人麿の画像を供養する歌会である人麿影供のことであったり、鎌倉時代の歌壇のことであったり、さらには書誌学の指導法を伝授してもらったこともある。いずれも氏の研究の重要な分野であるが、このたび氏の近年の書誌学の成果が充実した大著としてまとめられたことを、学界においてもそうであろうが、なにより私個人として悦ばしく思っている。
 私が佐々木氏から学んだのは、その該博な知識からばかりではない。なにより、文学、とくに和歌にまつわる営為への氏のこだわりからといってよい。私は、和歌を営みとして捉えたいと思ってきた。その重要なヒントを佐々木氏から与えられたのであった。いやヒントだけではない。和歌史が持続してきた謎の一端には、たしかに人の行為があったのだと、後押しをされ続けてきたのだった。氏の独擅場たる人麿影供研究はその典型である。
 今回の『日本古典書誌学論』でも、本をめぐって人がどう動いていたか、その営為の中から多角的に書物の持つ意味を解明しようという志に貫かれているように思われる。もちろん書誌学は書籍に関する事実を大事にする学問だろう。ただし事実を探求せんとして客観性を保持しようとするあまりに、視点や方法が単一化し、ひいては視野狭窄に陥ってしまうというのは、分野を限らぬ、研究のもつ危険性といえよう。佐々木氏の研究は、おのずとそうした弊を免れている。人間の所業への果敢なまでの探究心があるからであり、それがあくない好奇心に支えられているからである。一言でいえば、人の匂いがするのである。
 しかも、取り上げられている書物は、勅撰和歌集・『源氏物語』・『枕草子』・『平家物語』・歴史物語といった古典を代表する作品群であり、本書の意図の一つとして、文学と書誌学を架橋することが挙げられているのも、たしかにとうなずける。佐々木氏は、自身の研究の営みを総動員して、書物をめぐる営為の謎を解き明かそうとする。その意味で本書は、氏のこれまでの研究の集大成でもあるといえよう。志の高い本である。

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■英文目次・要旨

The Bibliographical Study of Classical Japanese Texts
Sasaki Takahiro

Table of Contents

Foreword

Introduction
  Chapter 1 The Bibliographical Study of Classical Japanese Texts: An Introduction
  Chapter 2 On the Relationship between Books and Japanese Script Types

Part One: Scroll Format and Bound Books
  Chapter 1 The Placement of Outer Titles on Bound Books
  Chapter 2 Picture Scrolls and Picture Books: The Relationship between Illustrations and Format

Part Two: Scroll Format and Waka and Renga Texts
  Chapter 1 The Imperial Poetry Anthologies and Scroll Format
  Chapter 2 In the Image of the Imperial Anthologies: A Scroll-Format Copy of the Shinsen Tsukuba shū
  Chapter 3 Being in Scroll Format: The (Masahiro verse-excerpted) Shinsen Tsukuba shū Text in the Waseda University Library
 
Part Three: Genji monogatari and Bibliography
  Chapter 1 Bibliographical Research on the "Ōshima-bon Genji monogatari"
  Chapter 2 A Reexamination of Two "Teika-bon Genji monogatari": The "Ōshima-bon" as a Window on Two Versions of the Okuiri
  Chapter 3 Further Investigations into the "Ōshima-bon Genji monogatari": On the Colophon of the "Sekiya" Volume

Part Four: Heike monogatari and Bibliography
  Chapter 1 Heike monogatari as a Book
  Chapter 2 Heike monogatari in Scroll Format: A Bibliographical Study of the "Nagato Fragment"
  Chapter 3 A Bibliographical Reexamination of the "Yashiro-bon Heike monogatari"

Part Five: Classical Literature and Bibliography
  Chapter 1 A Teika-bon "Makura no sōshi"
  Chapter 2 Makura no sōshi nukigaki as a Book
  Chapter 3 History Tales as Books
  Chapter 4 A Copy of the Eight Imperial Anthologies by a Muromachi-period Warrior from the Eastern Provinces: On Unshin's Kokin wakashū in the National Library of Korea
  Chapter 5 Literary Arts of the Takenaka Clan, Hereditary Chief Priests of the Nagato Ninomiya Shrine Iminomiya-jinja: Findings from Fragments of an Unknown Poetry Collection

Original Publication Data
Afterword


Afterword

As a way to break through the sense of stagnation recently felt in the study of classical Japanese literature, this book proposes a reappraisal of bibliographical research methods--long now neglected if not quite new-- and provides concrete examples of their use.
Bibliography is a discipline that takes all books as its subject, but the subject of this volume is books produced before the Edo period that contain works of classical Japanese literature, as reflected in its title: The Bibliographical Study of Classical Japanese Texts. To be sure, the bibliography of classical Japanese texts is itself a broad field, one encompassing a variety of subjects and approaches. Among these, this volume chiefly discusses methods that focus on, and try to extract information from, the physical form of the book.
This volume is composed of an introductory section followed by the main section in five parts.

In the introductory section, I give a general overview of the basic bibliographic knowledge necessary when conducting any specific investigation. This basic knowledge is about the format of books, namely their manner of production.
Chapter 1: The Bibliographical Study of Classical Japanese Texts: An Introduction
I review the morphological characteristics of each of the five basic types of format used for classical Japanese texts: kansusō ("scroll format"), orihon ("folding book" format), detchōsō ("pasted-leaf format"), tetsuyōsō ("sewn-leaf format"), and fukuro-toji ("pouch-binding" format). From there I discuss the relationships that exist between these various formats and the classical works they contain, noting that among the three especially commonly-used types--scrolls, tetsuyōsō, and fukuro-toji--there exists a hierarchy in that order, with the scroll format being the highest-ranked. I also review the fact that this difference in rank is something people were sensitive to, with re-formatting from lower to higher being a common occurrence, and I argue that judgments about the relationship between a format and the work it contains can only be made after this has been recognized.
Chapter 2: On the Relationship between Books and Japanese Script Types
I examine how books were influenced by the functional differentiation between the three types of script traditionally used in Japan--kanji, katakana, and hiragana. I demonstrate that script type had an influence on the way books were produced, showing how column-rulings, common in scroll-form manuscripts and bound printed books written largely in kanji, are not found in manuscripts and printed books written largely in hiragana. Moreover, given the usual absence of column-rulings in bound manuscript copies of books written largely in kanji and katakana, their presence in print editions of such books, I argue, can be seen as a deliberate indication of their printed character. In contrast, the fact that early-Edo printed books in hiragana--just like manuscripts--do not have column-rulings, indicates that these were intended as manuscript reproductions, leading to the conclusion that a fundamental difference existed in the way printed editions were viewed depending on the script.

In Part One of the main section, "Scroll Format and Bound Books," I use two chapters to discuss what kind of influence the highest-ranked of all formats, the scroll, exercised on the form of the bound book.
Chapter 1: The Placement of Outer Titles on Bound Books
When outer titles (gedai) are added to the cover, they are placed either in the cover's upper-left corner or in its center. To consider the significance of this fact, I assembled relevant passages from earlier bibliographic materials and old transmission texts of the calligraphic tradition, and investigated the situation of outer titles on surviving examples of original covers produced before the Nambokuchō period. Just as in the rules recorded in the calligraphic transmission texts, I was able to confirm it as fact that in poetic texts the outer title was usually at the upper left, and in works of fiction at the center. But I also discovered that books copied by monks did not necessarily follow this, and that in the case of individual poetry collections (shikashū), while outer titles were usually in the center until the beginning of the Kamakura period, from the mid-Kamakura period onward they tended more and more to be at the upper left. In the former case, I speculate that there seem to have been rules for each religious sect or institution. In the latter, I speculate that it seems related to the rising social status of individual poetry collections, as more and more of them tended not to be category-ordered compilations of selection material for imperial anthologies, with titles that added shū ("collection") after the poet's name, but came to have their own unique titles as works. And examining the source and significance of the difference in outer title placement, given that the upper left is also where the outer title is placed on the cover in scroll format, I propose the theory that with bound books, an upper-left placement of the outer title signals that the same work could also be produced as a scroll, while a center placement signals it is not the kind of work to be contained in scroll form.
Chapter 2: Picture Scrolls and Picture Books: The Relationship between Illustrations and Format
I review in detail the situation behind the fact that while the text of a fictional tale on its own will not be contained in the higher-ranked scroll format, with illustrations added it will be produced as a picture scroll, as well as the fact that because of this, in Japan the appearance of the illustrated bound book is delayed until the 16th-century. Examining structural problems with picture books having developed from picture scrolls, as well as the state of confusion where picture scrolls are also called picture books, I reaffirm how the scroll format exercised a great influence on the history of illustrated books in Japan.

In Part Two, "Scroll Format and Waka and Renga Texts," I comprehensively examine imperial review copies (sōranbon) of the imperial anthologies, which serve as proof of the scroll format's high ranking. I also conduct a detailed investigation into the high quality of the texts contained by scroll-format books, looking at two extant copies of the Shinsen Tsukuba shū.
Chapter 1: The Imperial Poetry Anthologies and Scroll Format
Focusing on historical records in particular, I examine the fact that it was traditional practice for the imperial review copy of an imperial anthology to be produced in scroll format, as well as ascertain the practical reality of its production process and those responsible for its fair copy. Building on that, I search far and wide for extant copies and fragments of imperial poetry anthologies produced in scroll format, assemble information about them, and confirm their high documentary value.
Chapter 2: In the Image of the Imperial Anthologies: A Scroll-Format Copy of the Shinsen Tsukuba shū
I examine the single extant scroll-format copy of the quasi-imperial anthology Shinsen Tsukuba shū, a single roll containing only the work's first volume, housed in the Keio Institute of Oriental Classics. I try to clarify its origins with reference to what can glimpsed of the same anthology's selection process from Sanetaka kōki, the diary of Sanjōnishi Sanetaka, who was involved in the compilation. As a result, I found that the volume's copyist was not, as in the appraiser's judgment, the renga master Sōboku, but Anegakōji Mototsuna, who was also responsible for the fair copy of the imperial review copy. I also found that its text is one of high documentary value, and that it would be safer to consider it not the imperial review copy itself, but a preliminary copy just prior to it. Together I attach a transcription.
Chapter 3: Being in Scroll Format: The (Masahiro verse-excerpted) Shinsen Tsukuba shū Text in the Waseda University Library
Here I investigate the context for the production of a single scroll in the Waseda University Library which, while indeed in scroll format from the beginning, is not Shinsen Tsukuba shū itself, but a unique copy excerpting the anthologized verses by Ōuchi Masahiro along with their maeku. Upon examining its text, I discovered that while one verse appearing in the extant Shinsen Tsukuba shū is absent there, in its place the same volume has one verse that cannot be found in the extant text. I advance the theory that most likely the excerpted volume was something made in great haste just before the imperial review copy by Botanka Shōhaku, a collaborator in the compilation, when he learned that Masahiro, both practical originator and patron of the same anthology, was close to death--in order to let him know what verses of his had been selected. In conjunction, I also note that the existence of these variant verses poses a problem, urging a reexamination of the traditional division of the same anthology's textual lines. I attach a transcription here as well.

In Part Three, "Genji monogatari and Bibliography," I show that the traditional bibliographic understanding of the "Ōshima-bon," long adopted as being the best extant text of Genji monogatari, is mistaken. And I argue that there is a need for a reexamination of the research on the basis of a correct understanding.
Chapter 1: Bibliographical Research on the "Ōshima-bon Genji monogatari"
Surveying the traditional bibliographic understanding of the "Ōshima-bon," l note the various problems in it that cause doubts, and concretely examine each in turn. I demonstrate that from the situation of its handwriting and its colophons, its annotations and its note-slips, its binding holes and the owner's stamp, the "Ōshima-bon" is a 19-volume partial text by a single hand, one made whole again by replacements for lost volumes, these copied by a number of different hands. Moreover I speculate that the copyists, too, aside from the first and last volumes, are likely provincial warriors, and argue that there is a need to renew our understanding of the reality of such an "Ōshima-bon," and to reexamine its text.
Chapter 2: A Reexamination of Two "Teika-bon Genji monogatari": The "Ōshima-bon" as a Window on Two Versions of the Okuiri
To identify how a correct understanding of the "Ōshima-bon" can be relevant to previous research, I examine the question, still unresolved, of which of the two versions of Okuiri, Fujiwara Teika's Genji monogatari commentary, is the earlier one: the "Okuiri" as found in the "Ōshima-bon" and in incomplete texts belonging to the same textual line, or as found in the "autograph Okuiri" made by cutting out the ending parts of each volume of Teika's own personal copy of Genji monogatari? By comparing the characteristics of what little story text the "autograph Okuiri" retains, together with its own bibliographic character, against those of the "Ōshima-bon" and other examples of its textual line, I determined that physically, the "autograph Okuiri" was the older text. I note that it is also, with a high probability, the one referred to in the passages found in Teika's diary Meigetsuki on copying out Genji monogatari.
Chapter 3: Further Investigations into the "Ōshima-bon Genji monogatari": On the Colophon of the "Sekiya" Volume
In Chapter 1, I demonstrated that the Asukai Masayasu colophon in the "Sekiya" volume, the strongest evidence for the traditional understanding of the "Ōshima-bon," is not a colophon by the copyist (shosha okugaki), but a colophon from the book being copied (hon okugaki). In order to confirm this more securely from another angle, for the sake of comparison I conducted a detailed study of a Genji monogatari text housed at Taishō University, one copied at a time close to the period of the colophon in question, collaboratively by the hands of Anegakōji Mototsuna and others. The copyist colophon found in 13 volumes of the Taishō University text shows commonalities in the style of its wording, and its text for the "Sekiya" chapter is extremely close to that of the "Ōshima-bon." From this I reaffirm that the "Sekiya" volume of the "Ōshima-bon" is the replacement of a volume that had gone missing, copied from a text that was circulating during the Muromachi period, and that naturally, one should absolutely not think of its colophon as applying to the "Ōshima-bon" in its entirety.

In Part Four, "Heike monogatari and Bibliography," I take up Heike monogatari, which differs widely from Genji monogatari not only in the nature of its story but in its morphology as a book, and I investigate the bibliographic characteristics of its extant copies.
Chapter 1: Heike monogatari as a Book
I conduct a bibliographic survey of extant copies made before the Muromachi period, and investigate, among other things, their format and size, the details of their outer and inner titles, their writing, and the region where they were copied. Comprehensively taking into account the characteristics of the oldest extant copies of Heike monogatari--such as their large-sized fukuro-toji ("pouch-binding") format and their frequent inconsistency in the writing of inner titles (naidai)--I reaffirm the reality of how in so many ways, the nature of a given work manifests itself in its production as a book.
Chapter 2: Heike monogatari in Scroll Format: A Bibliographical Study of the "Nagato Fragment"
I conduct a study of the "Nagato fragment," at present the only fragment extant of an early Heike monogatari manuscript in scroll format. Examining its bibliographical characteristics from a variety of angles, I show that it is most likely the joint work of three skilled calligraphers belonging to the Sesonji school, and that theories taking it to be the prose section of a picture scroll are unsustainable. This makes the uniqueness of the copy represented by the "Nagato fragment" even clearer.
Chapter 3: A Bibliographical Reexamination of the "Yashiro-bon Heike monogatari"
I conduct a study, focusing on its bibliographic aspects, of the "Yashiro-bon," a copy of Heike monogatari housed at Kokugakuin University that can only be called strikingly distinctive in form. Extremely unusual in its size and format, from the high quality of its paper and calligraphy, I conjecture that it likely took shape in exalted settings, and show that, among other reasons, given its linguistic characteristics and writing style, there is a high probability it was copied around the mid- to late Muromachi period

In Part Five, "Classical Literature and Bibliography," in addition to considering the bibliographical characteristics of manuscript copies of Makura no sōshi and history tales, I investigate the artistic and scribal activities of provincial warriors, who were both receivers of classical literary works and producers of their texts.
Chapter 1: A Teika-bon "Makura no sōshi"
Extant copies of the Sankan-bon, the dominant Makura no sōshi textual line, have in common a colophon dated to the Third Month of Antei 2 (1228). I examine the problem of the colophon's author, "Mōgyū guō," whose proposed identity with Fujiwara Teika, though first raised over a half century ago, remains unestablished to the present day. Working from the writing of the colophon and the characteristics of its comments on the text, I was able to determine that the author of the colophon was indeed Teika. Confirming that from the reception history, this means that the Teika-bon did not circulate very widely during the medieval period, I raise some issues that require further examination, and argue for the importance of carefully reading colophons from a bibliographic point of view.
Chapter 2: Makura no sōshi nukigaki as a Book
I examine a nukigaki-bon ("collection of extracts") made from the same Sankan-bon mentioned in Chapter 1. I conduct a bibliographic survey of the five existing textual lines, and from the fact of their mutual relations not being very close, I infer a correspondingly wide circulation for the text during the Muromachi period. Noting that each of the five lines had connections to renga, I determine that the reason for making such a book of extracts, which had previously been unclear, was for use as a reference work for renga tsukeai, and I advance proposals on directions for further research into Makura no sōshi's various textual lines, including the nukigaki-bon.
Chapter 3: History Tales as Books
Following the same method used with Heike monogatari in Part Four, Chapter 1, here I take up Eiga monogatari, as well as Ōkagami, Imakagami, Mizukagami, and Masukagami--what are called the "Four Mirrors"--and conduct a survey and examination of the bibliographical characteristics of their extant copies and fragments. I demonstrate that history tales were works that could be produced in scroll format; that there are consistent differences in the physical form of bound books containing Eiga monogatari and Ōkagami, which might indicate a difference in the nature of the two works; and so on, arguing for the effectiveness of a method that examines the relationships between the format of a book and the work it contains.
Chapter 4: A Copy of the Eight Imperial Anthologies by a Muromachi-period Warrior from the Eastern Provinces: On Unshin's Kokin wakashū in the National Library of Korea
I examine the character of a one-volume tetsuyōsō ("sewn-leaf format") Teika Jōō ninen-bon Kokinshū housed in the National Library of Korea, starting with the fact that it contains a copyist colophon by one "Unshinken Sōsetsu," dated to the Ninth Month of Kōji 3 (1557). The same library also holds a fukuro-toji ("pouch-binding") format Shūishū with a Tenbun 16 (1547) colophon by one "Shaku Unshin," likely the same person. Pursuing the possibility that these were copied as part of a full Hachidaishū ("Eight Imperial Anthologies") set, I found that there existed a Gosenshū, a Goshūishū, a Kinyōshū, and a Senzaishū with colophons by Unshin, and conducted a bibliographical survey of them all, excepting the Senzaishū, whose whereabouts are unknown. Having determined that the person in the colophon is the powerful Kanto warrior Uesugi Norikata, I explain the details of his Hachidaishū manuscript collection activity and its historical context, discussing what it signifies that such manuscripts in the hand of such a provincial warrior exist.
Chapter 5: Literary Arts of the Takenaka Clan, Hereditary Chief Priests of the Nagato Ninomiya Shrine Iminomiya-jinja: Findings from Fragments of an Unknown Poetry Collection
Using a travel diary-like fragment by someone who journeyed from Yamaguchi to Kyushu in late Muromachi-period Eishō 18 (1521) as a starting point, I examine literary activity around the provincial capital in Nagato, focusing on successive generations of the Takenaka Clan, Hereditary Chief Priests (daigūji) of the Ninomiya Shrine Iminomiya-jinja. Exploring the possibility of a connection between the same clan and the "Ōshima-bon Genji monogatari," I note the high degree of similarity in handwriting style between those volumes in the "Ōshima-bon" and in the "Nagato-bon Heike monogatari" that contain additions to replace lost material. I also advance some proposals on the directions and possibilities of research into provincial literary activity.

From the above it will be seen that the studies in this volume have not focused on any literary work or genre in particular, and indeed are purposely varied as to genre to demonstrate how relationships existed between the physical form of books and the contents they contained. The era of focus has mostly been the medieval period. This was because it seemed difficult to glean any trends from Heian-period manuscripts of literary works given their extreme rarity, and impossible to decisively demonstrate any trends in the Edo period when much bookmaking lore began to be neglected after the establishment of commercial publishing.
That these studies have throughout confined themselves to the surface is true enough. But I am confident that I have demonstrated how important it is for any deep investigation of a work's content to first gather bibliographic information on the text's vessel, the book, to then use that to determine the value and character of the text, and finally to strive to incorporate it into one's research. By doing this, it will become possible to conduct research that has fewer errors, and is both deeper and more substantial
Nevertheless, the number of cases here examined for each of the various genres and works is not large, and not all genres have been considered. Yet while the need for further studies of greater comprehensiveness and detail in the future goes without saying, the effectiveness of this research method, at the same time foundational and concrete, will no doubt withstand any number of future studies.

Translated by Jeff Alan Knott


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