{"created":"2023-05-15T13:45:20.173646+00:00","id":934,"links":{},"metadata":{"_buckets":{"deposit":"8cbdb5cf-774a-4f72-8f4a-3111c65d7699"},"_deposit":{"created_by":31,"id":"934","owners":[31],"pid":{"revision_id":0,"type":"depid","value":"934"},"status":"published"},"_oai":{"id":"oai:nichibun.repo.nii.ac.jp:00000934","sets":["192:240"]},"author_link":["18583","18582"],"item_5_alternative_title_20":{"attribute_name":"その他の言語のタイトル","attribute_value_mlt":[{"subitem_alternative_title":"Haikai and Mitate : Concerning Bashô and his Expression","subitem_alternative_title_language":"en"}]},"item_5_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"1990-09-30","bibliographicIssueDateType":"Issued"},"bibliographicPageEnd":"72","bibliographicPageStart":"65","bibliographicVolumeNumber":"3","bibliographic_titles":[{"bibliographic_title":"日本研究 : 国際日本文化研究センター紀要","bibliographic_titleLang":"ja"}]}]},"item_5_description_4":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"　日本の近世において大いに発達した表現手法である「見立て」は「俳諧」においては、ジャンルの芽生え以来深く宿命づけられた手法であった。和歌・連歌の作者の余技・余興として始められた俳諧は、それら先行の文学を参照しつつ、それを異化することで、ジャンルを樹立したのである。その結果、重頼（一六〇二―八〇）の編集になる俳諧作法書『毛吹草』（一六四五）には、「見たて」の条をはじめ「云立」「取成」「たとへ」などの項目を細かく列挙するまでになる。今日の目からすれば、相互の差異を容易には見出しがたいこの精細な分類に、ジャンルの表現の洗練にかける当時の状況がうかがわれる。芭蕉（一六四四―九四）はこのような時代に生まれ、当時の常套的な作風をいちはやく摂取していくが、次第に「和歌世界の見立て」であるという俳諧の表現世界の限界に気付きはじめる。しかし「見立て」は俳諧というジャンルが存立するための基盤であった。彼は逆に表現主体自らを古典作者の「見立て」と見なす方法によるならば、俳諧というジャンルの制約をまもりながら、表現世界の限界を脱して、対象を一挙に時代の全域にまで広げることが可能であるということに目覚めてゆく。表現主題自身を「見立て」と化し、先行の古典作者と自身とを貫くものの自覚へと沈潜することによって、ジャンルの二律背反から脱出した芭蕉は、その原理を、絶えずより広く、深めることで、今日「不易流行」「高悟帰俗」の語によって象徴される新しい文学の方法へと到達したのである。","subitem_description_language":"ja","subitem_description_type":"Abstract"}]},"item_5_full_name_3":{"attribute_name":"著者別名","attribute_value_mlt":[{"nameIdentifiers":[{"nameIdentifier":"18583","nameIdentifierScheme":"WEKO"}],"names":[{"name":"MITSUTA, 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