Tomoko Inou

The new curriculum guideline for the teaching of kokugo stipulates that the “traditional language and culture” should be intensively taught in the program of the subject. I fear that this way of teaching is apt to be nationalistic as pupils at some elementary schools are allegedly made to recite Kojiki like the recitation of the imperial rescript on education in the prewar period. But the ancient myths cannot be contained in the “traditional language and culture” defined by the Education Ministry. They are not the mere cultural heritages but the dynamic texts that never cease to change. To demonstrate it this paper will shed a new light on Yamato-Takeru, one of the familiar mythical figures in textbooks, from a female viewpoint.

In Kojiki and Nihon-shoki, Hiruko appears as the child of Izanagi-no-Mikoto, a demigod, who is carried away to some far-off place on a boat. In the early Heian Period, however, the Hiruko narrative was given two opposing readings. On the one hand, Nihon-kiko, the authorized annotation of Nihon-shoki, declared that she was not the demigod's child but a cursed being who should be purged. On the other hand, at the symposium, a courtier named Oe-Tomotsuna, mourning over his degradation, made a waka poem in which he identified his misfortune with Hiruko's destiny. The image of "poor Hiruko" came from this. It was so often repeated and reproduced in Genji-monogatari and other texts that at last it became a myth. The aim of this essay is thus to read the difference in interpretation between Nihon-kiko and Oe-tomotsuna and to discuss the meaning of the symposium as a myth-making site.

『続日本紀』（以下、『続紀』）は、六国史の中で唯一当代の歴史である桓武紀を記述したものであり、その記述に関しては編纂者の歴史意識が反映している。本稿では、漢文詔、漢文祭文の表現から『続紀』の歴史叙述の方法を通して見出だされる新たな天皇像としての桓武を見る。これは歴史叙述の過程で、孝謙に関する歴史叙述と向かい合う中で現われてきた天皇像であり、新たな〈神話〉として後代まで影響を与えたと考えられる。

資料形態 : テキストデータ プレーンテキスト