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糸井武作『仇競今様櫛』からみる天保四年の「二代目十返舎一九」公表を巡って
康志賢 한국일본언어문화학회 2020 일본언어문화 Vol.52 No.-
As a result on considering the bibliographic research method about the works that show the situation before and after the publication of Jippensya-ikkuⅡ of Itoi-takesi in 1833, it was found the following things. I pointed out that, in the case of Ninzyobon “Adakurabe-imayogusi”, it is presumed that the second volume was published in 1832, and he proposes that he has named himself “Ikku Ⅱ” in the two volumes. Then, as a result on considering in order to consolidate his position as Ikku Ⅱ, I examined the identity of “Yomono-masaki” who conveys his name in a three-volume epilogue, and it was found the following things. (1) “Yomono-masaki” would not be Gohensya-hankyu. (2) “Yomono-umehiko” was the successor of “Yomo”, who had been selling sake called Takisui, and would be a different person from Yomono-masaki.
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康志賢 한국일본언어문화학회 2021 일본언어문화 Vol.56 No.-
It was 1833 when Itoi-takesi activities to solidify its position as a successor to the name Jippensya-ikku II. First of all, in the epilogue of the three volumes of “Adakurabe-imayogusi”, I researched a person named “Kyogechusya-Yomono- masaki” who talks about Itoi’s name. As a result, it was possible to point out the fallacy of the preceding catalog that “Kyogechusya-Yomono-masaki” is “Yomono- umehiko”. I have demonstrated that Yomono-masaki was neither “Kyokabo- Yomono-takisui II” nor his son “Yomono-umehiko=Machusono-umehiko”. Then, a volume of Itoi’s ninzyobon “Koino-wakatake” was published in 1833. In fact, the time when this ninzyobon was established has not been determined even in previous studies. Therefore, it was necessary to investigate the bibliography. As a result, it was found that the publisher, Chyoziya, who obtained one volume published in 1830, used the board as it was for the text, and remade the daisen(題簽), prologue, kuchie(口絵), illustrations, dvertisements, and okuzuke(奥付). When announcing that the author had named Jippensha Ikku, it was concluded that the first edition of 1833 was reprinted in line with the trend of Ninjyobon.
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강지현 한국일본언어문화학회 2022 일본언어문화 Vol.59 No.-
This paper is an addendum to the previous manuscript, “A study on the manuscripts of Jippensya-ikkuⅡ who escaped Edo,” which looks over the writing activities of Itoi’s later years after leaving Edo in 1837, and discusses the situation up to the situation where his name is stripped. Itoi published a number of Gesaku works in Edo that signed “Jippensha Ikku” until January 1837, but even during his stay in the countryside after he went missing due to a writing incident, he wrote letters and annotations, Gokan and Ninzyobon manuscripts. He kept having a will to create, and in 1840 and 1841 he wrote a manuscript full of local colors while being a nomadic body. Especially in the Gokan, he wanted to publish with Kunisada and Kuniyoshi as the painters and Sengakudo and Kinrindo as the publishers, but it didn’t come true. The Gokan “Ikkyuzenzisenchyanokuchitori”, drawn by Utagawa- naochuna and published by Kinkoudo, containing the story of children’s wisdom, was published in 1842. However, it was no longer possible to return to official writing activities. In this way, Itoi was able to get a glimpse of his later years, which can be traced as “Ikku,” that he lived in his hometown and Owari with assistance. While staying in a rural area away from Edo in this way, from writings including Itoi’s drafts that he wrote down, to those that aimed to be published until 1842 and private ones, despite the bad situation, I was able to confirm that it was known as “Jippensha Ikku”.Then, while the situation of being unable to return to Edo continued, Santai-syunba took over the Ikku’s name in place of Itoi in November 1844 by the Jippensya disciples, who had been waiting for eight years.
KCI
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