{"created":"2023-05-15T14:24:22.656283+00:00","id":5605,"links":{},"metadata":{"_buckets":{"deposit":"cb422db0-3adf-4054-98fd-dd908dffbe53"},"_deposit":{"created_by":15,"id":"5605","owners":[15],"pid":{"revision_id":0,"type":"depid","value":"5605"},"status":"published"},"_oai":{"id":"oai:glim-re.repo.nii.ac.jp:00005605","sets":["1254:80:1455"]},"author_link":["48762","48763"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2023-03","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"Special","bibliographicPageEnd":"15","bibliographicPageStart":"1","bibliographic_titles":[{"bibliographic_title":"The Gakushuin Journal of International Studies","bibliographic_titleLang":"en"}]}]},"item_10002_description_19":{"attribute_name":"フォーマット","attribute_value_mlt":[{"subitem_description":"application/pdf","subitem_description_type":"Other"}]},"item_10002_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"本論では、折口信夫（釈迢空）の歌集『海やまのあひだ』に収録された二十三首一連「奥熊野」の構成とそのモチーフを明らかにすることを目的としている。本作はこれまで『海やまのあひだ』の原型として考えられ、その改作過程が多く論じられてきた。また、折口の学問の一つの主題となる他界観念と深く結びついているという指摘もある。しかし、歌の表現法や連作の構成などについては、詳細な分析はされてこなかった。加えて、その作品において折口の思想はどのように表現され、どのような効果を果たすのかも明らかにはされていない。そこで本論では、「奥熊野」を連作として読む可能性を提示し、そのモチーフの分析を行う。まず、この連作のモチーフを、「山・陸」と「海」という二つの領域に分ける。そして、陸を起点にした他所としての故郷への憧れという進展、実在する場所と幻想の場所という二つの次元が現れることを確認する。実感的な表現をもとに現れる幻想的な表現が、この連作の二面性を顕にしている。実際にその二面性こそ「写実」と「虚構」あるいは「現在」と「古代」という二項対立を乗り越えたところで、歌の中で混在し、「写生」の新たな可能性を見いだせる。この次元にこそ、折口・迢空の先駆した思想および創作の根源があるのではないかということを提示したい。","subitem_description_type":"Abstract"}]},"item_10002_description_6":{"attribute_name":"内容記述","attribute_value_mlt":[{"subitem_description":"The Forefront of Japanese Studies in Europe","subitem_description_type":"Other"}]},"item_10002_publisher_26":{"attribute_name":"出版者（英）","attribute_value_mlt":[{"subitem_publisher":"Gakushuin Women's College Institute of International 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