十返舎一九の高弟、金鈴舎一寶と五返舎半九について

강지현 한국일본어문학회 2022 일본어문학 Vol.93 No.-

I also discussed Ikku I's leading disciple, Gohensya-hanku, who seems to be the central person under the Jippensya-ikku’s disciples, was the main axis and Kinreisya-ippo, who has many confusing pen names. As a research method for that purpose, I decided to dig out biographical matters from the bibliography of lesser-known works and introduce them. As a result, the following views were obtained. First, as a result of verifying the name “Ginreisya-hanku, Ginreitei-hanku, Ginreisya-hanpo”, I proposed the following things that the theory of Ginreisya-hanku = Kinreisya-ippo and Ginreitei-hanku = Gohensya-hanku is a fallacy, Ginreisya-hanpo would be a disciple of Kinreisya-ippo, “Ougontei” as the teigo of Kinreisya-ippo and so on. Second, I inferred the cause of the rumors of the trouble about the succession to “the Ikku II” between Hanku and Sanku. However, the truth is unknown because there is no evidence that the two contended, and except for “Sanku”, he is the most creative activity among the direct disciples of the Ikku Ⅰ, while being involved in the succession names of the Ikku Ⅱ and Ikku Ⅲ. It was decided that Gohensya-hanku was the disciple who tried to make prosperous the Ikku disciples. 十返舎一九の高弟、金鈴舎一寶と五返舎半九について 初代一九の高弟で、十返舎門下の中心的人物と思しき五返舎半九を主軸に、紛らわしい戯号が多い金鈴舎一宝まで論じた。そのための研究方法としては、あまり知られていなかった著作の書誌から、伝記的事項を掘り出して、紹介することになった。その結果、次の新知見が得られた。第一、「銀鈴舎半九、銀鈴亭半九、銀鈴舎半宝」という名前について検証した結果、銀鈴舎半九=金鈴舎一宝、銀鈴亭半九=五返舎半九という説は誤謬であること、銀鈴舎半宝は金鈴舎一宝の弟子であろうこと、金鈴舎一宝の亭号として「黄金亭」などを提起した。第二、半九と三九の二代目一九襲名争いの噂が立った原因を推論しつつ、しかしながら、二人が争った形跡は見当たらないので真相は不明であること、転門してきた三九を除くと、初代一九の直弟子の中で随一の創作活動をしていて、代々の一九襲名に関わりつつ社中を盛り立てようとした門弟が五返舎半九であることを見極めた次第である。因みに、その半九作噺本『落噺仕立おろし』の改題再版本が『落しばなし』と『茶番今様風流』であった。

三代目一九こと初代三亭春馬の錯綜する小伝・戯号再考

강지현 단국대학교 일본연구소 2019 일본학연구 Vol.56 No.-

三代目一九こと初代春馬に関して幕末から始まった誤伝が尾を引いている現況に鑑みて、代数他、伝記事項が錯綜する先行文献を分析・補訂することを本稿の第一目標とした。彼の出自や師系・著作・別号・代数・襲名否定のような誤認が生じる原因として、自らは代数を明記せず「十返舎一九」とのみ称したことと、四代目一九に対する学界の認識不足の可能性を挙げ、初代春馬が十返舎一九を襲名したという通説に立ち戻るべきであることを再確認した次第である。具体的には、例えば「印記」に注目すれば、春馬の戯作界登壇における流れを「九返舎一八」から「三亭春馬」への改名を軸に辿った際、熊手模様の印記を続けて使用する春馬は、師系である初代一九、つまり十返舎門下から離れたことはなかったこと、「三亭」の文字を象った印記は二代目春馬であると見分ければ、初代春馬との混同も避けられるのである。 そして、今まで春馬と同人とされてきた人名を再考、新たな別号をも炙り出すことで大まかな小伝を提示することを目指した結果、日本古典籍総合目録DBの春馬とされる著者名中、三浦・三浦一九は四代目一九のことなので削除、吾妻男一丁一世や文尚堂虎円は別人なので削除、落栗庵木網二世は三世と訂正すべきであることが指摘できた次第である。 Regarding Santei-syunba Ⅰ who is the Ikku Ⅲ, erroneous biographies from the end of the Edo Period are still affecting. The first purpose of this paper is to correct such prior documents. What is the cause of misunderstanding in his birth, master, works, pen name, and Inherited name? The first reason is that he named just only himself “Jippensya-ikku” without specifying what number he is, the second reason is to lack of academic recognition of Ikku Ⅳ. Therefore I insisted should return to the common opinion that he inherited Jippensya-ikku. Specifically, the following could be pointed out. (1) Syunba who keeps using the symbol of the rake pattern never left Jippensya group at least once. (2) If the person who uses a symbol that imitates the letters of “Santei” is a Syunba Ⅱ, confusion can be avoided. (3) Because it is published in Union Catalogue of Early Japanese Books, Miura(Miura Ikku) has been regarded as the same person as Syunba, since it was about Ikku Ⅳ, so it is deleted, “Azumaotoko-icyou Ⅰ” and “Bunsyodo-koen” are different people, so they should be deleted, “Ochikurian-mokuami Ⅱ” should be corrected as “Ochikurian-mokuami Ⅲ”.

十返舎社中及び門弟小考

康志賢 한국일본어문학회 2021 일본어문학 Vol.88 No.-

The purpose of this paper was to take up the members of “Jippensya-ikku” and other disciples as a whole in order to disagree with the myth that “there were not many disciples” in Jippensya-ikku. In other words, I discussed “Kitagawa-tsukimaro” among the members of the farce club “Jippensya-syatyu” sponsored by Ikku, focusing on the theory that he is the same person as “Kentei-bokuzan”. And searching to the disciples who have nothing to do with the farce club, the purpose of this paper was to introduce unknown disciples while supplementing and correcting prior literature centered on “Gesakusya-syoden” and “The study on Jippensya-ikku”. As a result, the following views were obtained.First, it is difficult to establish the theory that “Kentei-bokuzan” and “Kitagawa-tsukimaro” are the same person. Therefore, Bokuzan relied on Tsukimaro until 1810, I assumed the flow of entering Ikku the following year at the recommendation of Tsukimaro. Second, as a result of actually finding the signature examples of the Ikku’ disciples pointed out by the past scholars, Toneisya-ichiga was active until 1837, and “Ichika(一何)” and “Ichia(一阿)” were mistakenly written. And also, I pointed out the possibility that Kyuhensya-itsyo and Rokuhensya-itisan, who were not introduced by the past scholars, may be disciples of Ikku III

江戸を逃れた二代目十返舎一九の著作活動と 名跡剥奪再考

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.

艶本『閨中膝磨毛』の作者初代吾妻男一丁が、 初代一九である可能性について

康志賢 ( Kang Ji-hyun ) 한국일어일문학회 2021 일어일문학연구 Vol.118 No.-

I have examined and denied the myth that the author “Azumaotoko-ittchyo” of the first and second volumes of the Erotic novel Keichyu-hizasurige are Itoi-takesi or Santei-syunba.In other words, 1812, when the first and second editions were published, was before Itoi became a disciple of Jippensha-ikku, and nevertheless the rake symbol should not be used for signatures. Moreover, even in terms of age, I found out that Santei-syunba was not. After denying the myth in this way, the author of the first “Azumaotoko-ittchyo” of this Erotic novel, inferred the possibility of being the first Ikku on four bases. Part 1, compared to the other editions, the content features of the first and second editions are far superior. Part 2, the style that makes oneself despise and caricature is a typical individuality of the first Ikku. Part 3, the rake symbol used by the first Ikku is used without any parody. Part 4, the name Azumaotoko of the first Ikku is found in the Yomihon Hutabagusa published in 1802.

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.

異類の嫁入物における一九作合巻『怪談ねこの娵入』の特徴考 - 通笑作黄表紙『去ル御子様御望ニ付猫嫁入』と 一九作合巻『化物の娵入』との比較を通して -

강지현 한국일어일문학회 2024 일어일문학연구 Vol.129 No.-

This article focuses on the heterogeneity of each other in order to explore the characteristics of Tsusho’s Kibyoshi ① “Saruokosama-onnozominichuki-nekono yomeiri”, Ikk’s Gokan ② “Bakemonono-yomeiri” and ③ “Kaidan-nekonoyomeiri”. The results obtained are as follows. There are rituals that are carried over forthirty-seven years and special rituals in each work. Three events were listed as events that were only in ① and were omitted in ② and ③. Five events were newly added in ②. These five scenes were noti n Tsusho’s work ①, but they were newly added in ② and omitted again in ③. On the other hand, “room visitation” and “water-bathing” were listed as events that did not appear in ① but are new to ③. In addition to the characteristic “customs and scene” of each work as described above, if we focus on “rhetoric and style”, the feature of ③ stands out. First of all, the three works have in common the techniques of “personification” and “associated word”. These are traditional techniques handed down from the early Kusazousi of “Yomeirimono”. The “inversion” characteristic of ② is also a traditional technique. Then, as the characteristic rhetoric of ③, I pointed out “indecent talk”, “cat obsessed with money”, and “short comedy and conversation style”. The fact that the amount of text in ③ is double that of ① and ② due to such dialogue is a characteristic of Ikku's Gokan that cannot be seen in other authors’ Gokan.

四方正木、及び『深契情話恋の若竹』の成立時期について

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.

黄表紙『質流思外幸』『質流人行末』を中心にみる 子供の日常と非日常少考

강지현 대한일어일문학회 2023 일어일문학 Vol.100 No.-

In order to analyze the depiction of children's daily and exceptional experiences, this study centers on Jippensya-ikku's Kibyosi a) "Sichino-nagare-mokkenosaiwai" and b) "Sichino-nagare- hitonoyukusue". Initially, the investigation sought to ascertain the perception of children's existence in routine circumstances. Consequently, while the paternal love depicted in "Ukiyoburo" may exhibit greater intensity as the father endeavors to bathe his child in a pubic bath, the father in "Mokkenosaiwai Shigaiyuki" demonstrates consistent efforts in calming his child's nocturnal distress within the realm of their daily existence. This demonstrates his steadfast affection for his offspring. The success or failure of "Gesaku" hinges upon its ability to effectively integrate the theme of children with both mundane and extraordinary circumstances, as well as its capacity to generate intriguing, humorous, and distinctive situations. Undoubtedly, the narrative depicting a parent and child who inadvertently find themselves entangled in the world of a brothel would have undoubtedly captivated and amused readers. When the filter of literary embellishment is eliminated, the true circumstances of the era are revealed. In essence, the concept of a father exchanging his daughter for monetary gain is rooted in the distressing actuality of the circumstances faced by destitute families. Specifically, it pertains to the distressing practice of selling or “pawning” young girls, typically between the ages of seven and eight, into brothels where they are compelled to serve as apprentice prostitutes. In essence, the comedic portrayal of a destitute family facing a tragic circumstance in "Gesaku" can be understood as a consequence of their association with a merchant household and their involvement in the sex trade, thereby giving rise to the peculiar concept of “pawning.”

三亭春馬作合巻『紫菜浅草土産』の書誌学的研究

강지현 한국일어일문학회 2019 일어일문학연구 Vol.109 No.-

Gokan“Murasakinori Asakusamiyage”written by Jippensya-iIkku Ⅲ who is Santei-syunba may be misunderstood for basic bibliographic items in prior documents and on-line database catalogs.In order to correct the preceding research which contains right and wrong, I compared bibliographically seven original texts. As a result, it was able to correct as follows. (1)The year of the third part was published was not 1847 but 1848, and the year of the fifth part was published was 1858 instead of 1850. (2)The publisher of the fourth and fifth part was not Kawachiya-tasuke but Jyosyuya-jyuzo. (3)The illustrators of the three part is not Kuniyosi but Toyokuni, the illustrator of fourth and fifth part is not Toyokuni but the fourth part is Kuniyosi and the fifith part is Yositora. (4)The Tokyo Metropolitan Central Library, which seems to be in the entire part, has only the first and second parts and no other parts are stored. (5)“Kanzenmesi” that is considered unpublished is in The University of Tokyo and The National Institute of Japanese Literature. .