| 研究課題/領域番号 |
19K13068
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| 研究種目 |
若手研究
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| 配分区分 | 基金 |
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| 審査区分 |
小区分02010:日本文学関連
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| 研究機関 | 早稲田大学 |
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研究代表者 |
高井 詩穂 早稲田大学, 文学学術院, 准教授 (60813780)
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| 研究期間 (年度) |
2019-04-01 – 2025-03-31
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| 研究課題ステータス |
交付 (2023年度)
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| 配分額 *注記 |
3,510千円 (直接経費: 2,700千円、間接経費: 810千円)
2022年度: 780千円 (直接経費: 600千円、間接経費: 180千円)
2021年度: 780千円 (直接経費: 600千円、間接経費: 180千円)
2020年度: 1,040千円 (直接経費: 800千円、間接経費: 240千円)
2019年度: 910千円 (直接経費: 700千円、間接経費: 210千円)
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| キーワード | Puppet theater / Female performers / Representation of women / Adaptation / Performance / Puppet Theater / Representation of Women / Popular Culture |
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| 研究開始時の研究の概要 |
芸能やパフォーマンス研究は近年いっそうの注目を集めているが、その一方、海外での人形浄瑠璃の研究は能や歌舞伎の研究と比べてまだ比較的少ない。そこで本研究では、テクストと画像資料の双方から、人形浄瑠璃最盛期である十八世紀の浄瑠璃作品における女性像（継母、遊女など）を検証し、当時多くの人に親しまれた大衆芸能や大衆文学作品としての人形浄瑠璃の近世社会における役割（民衆教育、娯楽、社会批判など）を考察する。最終的に、比較文化的視点から分析した英語での研究書の出版を目標とし、国際的な演劇研究や大衆文化研究、近世研究など、様々な分野の研究への貢献を目指す。
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| 研究実績の概要 |
In the research in AY2023, I continued to develop my research into the historical roles of the female performers (especially female gidayu chanters) and their potential development in the future. Based on the presentation "From Transgression to Culture: The Roles of Female Gidayu Joruri Performers in the Male-Dominant Traditional Performative Arts" I made in November 2022, I started conversation with international scholars of theater to discuss for exploring the topic of traditional theater and gender. I also revised the paper I presented at the Association for Asian Studies 2023 Annual Conference (Boston, USA) in March 2023 for a publication in an international journal issue to be published in 2025.
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| 現在までの達成度 (区分) |
現在までの達成度 (区分)
3: やや遅れている
理由
Unfortunately, I was not able to meet the deadline for submitting the revised conference paper "From Transgression to Culture: The Roles of Female Gidayu Joruri Performers in the Male-Dominant Traditional Performative Arts" for the journal issue for AY2023 due to delay in collecting necessary research materials. Also, the international and interdisciplinary panel on representations of mothers in East Asian literature and theater that we proposed for the AY2024 Association for Asian Studies (AAS) in Seattle was unfortunately not accepted. As a result, although I did attend the conference as a non-presenter, I missed opportunity to present and get feedback on our studies.
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| 今後の研究の推進方策 |
As I mentioned in my report for AY2023, I extended my research period for two years. With the connections I was able to build with international scholars at the AAS conference in AY2023 (such as a kabuki scholar Prof. Maki Isaka, Beijing Opera scholar Prof. Guanda Wu, and a Japanese scholar on womanhood Prof. Aiko Tanaka), I will continue developing my research on female performers in joruri and submit the revised paper on the topic within AY2024. I would also like to revise our potential panel on motherhood for a different international conference.
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