WEKO3
アイテム
{"_buckets": {"deposit": "aa0e2c46-58c0-4fe1-aa3e-b33a3118ce27"}, "_deposit": {"created_by": 19, "id": "16037", "owners": [19], "pid": {"revision_id": 0, "type": "depid", "value": "16037"}, "status": "published"}, "_oai": {"id": "oai:toyama.repo.nii.ac.jp:00016037", "sets": ["1779"]}, "author_link": ["373"], "item_8_alternative_title_20": {"attribute_name": "その他(別言語等)のタイトル", "attribute_value_mlt": [{"subitem_alternative_title": "1st Hearn talk: audio file"}]}, "item_8_date_7": {"attribute_name": "発表年月日", "attribute_value_mlt": [{"subitem_date_issued_datetime": "2018-04-25", "subitem_date_issued_type": "Created"}]}, "item_8_description_16": {"attribute_name": "フォーマット", "attribute_value_mlt": [{"subitem_description": "application/mp3", "subitem_description_type": "Other"}]}, "item_8_description_4": {"attribute_name": "抄録", "attribute_value_mlt": [{"subitem_description": "テーマ:日本の第一印象―未知の感動を伝えること―\n\n0-1.ハーンの生涯と著作\n・ハーンの生涯\n 【幼年期~少年期(0~19歳)1850年6月27日~1869年】\n 1850年6月27日 ギリシアのレフカダ島に生まれる\n 父はアイルランド人医師(当時英国軍医)\n 母はギリシア人\n 1852年 家族とともにダブリン(アイルランド)移住\n 1854年 母,単身帰国\n 1861年 イヴトー(フランスのノルマンディー地方)の教会学校に入学?\n 1863年 アショー・カレッジ(イギリスのダーラム)に入学\n 1866年 左眼を失明,この年父死去\n 1867年 アショー・カレッジ中退\n 以降渡米までの足跡が不明\n このあと,フランスの神学校へ入学したという説もある\n ロンドンで貧乏な生活を送る\n 【アメリカ時代 1869年~1890年】\n 1869年 イギリスまたはフランスからアメリカ・ニューヨークに到着\n オハイオ州シンシナティへ\n 印刷屋の下働き,牧師の秘書などを務め,週刊誌などに投稿を始める\n 1874年 「シンシナティ・エンクワイアラー」紙の社員となる(75年に解雇)\n 1877年 ルイジアナ州ニューオリンズに移る\n 「アイテム」紙・「デモクラット」紙に寄稿\n フランス文学の翻訳を試みる\n (ボードレール,ゴーティエ,フロベールなど)\n クレオール文化や文学に関心を抱く\n 1881年 「タイムズ・デモクラット」の文芸部長となる\n →蔵書300冊を超える\n 1885年12月16日 万国産業綿花百年記念博覧会見学\n 日本館の展示品に興味を惹かれる\n 服部一三,高峰譲吉と出会う\n ピエール・ロティと文通\n 1886年 仏領西インド諸島訪問。約2年間滞在\n 1889年 ニューヨークに戻る\n 1890年 日本行きを決意\n 【日本時代 1890年4月~1904年9月26日】\n 1890年4月 横浜に到着。チェンバレンの知己を得る\n 横山の神社仏閣をめぐる。江の島・鎌倉を見学\n 1890年7月 島根尋常中学校および師範学校の英語教師となる契約を結ぶ\n 8月松江入り。9月初めから授業開始\n 「へるん」印をつくる,小泉セツと出会う\n 1891年11月 熊本にセツ一家とともに移住,第五高等学校で授業を始める\n 1893年 長男一雄誕生\n 1894年 神戸クロニクル社に転職。熊本を離れる\n 1896年 帰化。小泉八雲となる。入籍\n 1896年 帝国大学文科大学講師となる\n 英文学史・詩論・詩人論などを週12時間講義\n 日本に関する著作を精力的に発表\n 1903年1月 東京帝国大学解雇\n この次期渡米も考えていたが,健康上の理由で断念\n 1904年3月 早稲田大学にて英文学と英文学史の講義を行う\n 1904年9月26日 心臓発作のため死去\n\n・ハーンの著作\n 【米国時代:7冊】\n Stray leaves from strange literature (1884年)\n Gombo Zhèbes: Little Dictionary of Creole Proverbs (1885年)\n La cuisine creole : a collection of culinary recipes (1885年)\n Some Chinese ghosts (1887年)\n Chita: a memory of Last island (1889年)\n Youma; the story of a West-Indian slave (1890年)\n Two years in the French West Indies (1890年)\n 米国時代の新聞記事,コラムなど\n シンシナティ時代『シンシナティ・インクワイアラー』\n ニューオリンズ時代『アイテム』『タイムズ・デモクラット』のちに文芸部長\n 【来日後:12冊】\n Glimpses of unfamiliar Japan (1894年)\n Out of the East: reveries and studies in New Japan (1895年)\n Kokoro : hints and echoes of Japanese inner life (1896年)\n Gleanings in Buddha-fields : Studies of hand and soul in the Far East (1897年)\n Exotics and retrospectives (1898年)\n In ghostly Japan (1899年)\n Shadowings (1900年)\n A Japanese miscellany (1901年)\n Kotto: Being Japanese Curios, with Sundry Cobwebs (1902年)\n Kwaidan: : Stories and studies of strange things (1904年)\n Japan : an attempt at interpretation (1904年)\n The romance of the Milky Way and other studies \u0026 stories (1905年)\n ちりめん本5冊(長谷川武次郎刊行の日本昔噺シリーズ:Japanese Fairy Tale)\n The Boy who drew Cats (1898年)\n The Goblin Spider (1899年)\n The old Woman who lost her Dumpling (1902年)\n Chin Chin Kobakama-The Fairies of the Floor-Boards (1903年)\n The Fountain of Youth (1922年)\n 【ハーンの講義録】\n 第五高等学校(熊本・現熊本大学)\n 東京帝国大学(東京・現東京大学)\n 「英語」「英文学」「英文学史」「文学論」\n その時の学生のノートをもとに講義録が出版されている\n\n0-2.富山大学附属図書館所蔵ヘルン文庫の構成\n・洋書2,069冊\n 英語で書かれた本:1,350冊\n フランス語で書かれた本:719冊\n\n・和漢書364冊\n\n・Japan: An Attempt at Interpretation 『日本一つの解明』手書き原稿上下 1,200枚\n\n※このうち500冊近くは,来日時にハーンがアメリカにおいてきた本\n友人宅にいわば借金のかたとして置いてきたままになり,ハーン没後,係争ののち,1908年に小泉家に返却された\n→ハーンは生前二度と目にすることはできなかった\n(カタログでは「*」がついている)\n\n・旧制富山高等学校および富山大学で作成された3つのカタログ\n\n※以下は資料(原文と日本語訳)配布のみ。\n1-1.Glimpses of unfamiliar Japan\n 第1章:極東第一日\n My first day in the orient\n\n\u0027Do not fail to write down your first impressions as soon as possible,\u0027 said a kind English professor [Basil Hall Chamberlain: PREPARATOR\u0027S NOTE] whom I had the pleasure of meeting soon after my arrival in Japan: \u0027they are evanescent, you know; they will never come to you again, once they have faded out; and yet of all the strange sensations you may receive in this country you will feel none so charming as these.\u0027 I am trying now to reproduce them from the hasty notes of the time, and find that they were even more fugitive than charming; something has evaporated from all my recollections of them--something impossible to recall. I neglected the friendly advice, in spite of all resolves to obey it: I could not, in those first weeks, resign myself to remain indoors and write, while there was yet so much to see and hear and feel in the sun-steeped ways of the wonderful Japanese city. Still, even could I revive all the lost sensations of those first experiences, I doubt if I could express and fix them in words. The first charm of Japan is intangible and volatile as a perfume. \n\nIt began for me with my first kuruma-ride out of the European quarter of Yokohama into the Japanese town; and so much as I can recall of it is hereafter set down. \n\nSec. 1 \n\nIt is with the delicious surprise of the first journey through Japanese streets--unable to make one\u0027s kuruma-runner understand anything but gestures, frantic gestures to roll on anywhere, everywhere, since all is unspeakably pleasurable and new--that one first receives the real sensation of being in the Orient, in this Far East so much read of, so long dreamed of, yet, as the eyes bear witness, heretofore all unknown. There is a romance even in the first full consciousness of this rather commonplace fact; but for me this consciousness is transfigured inexpressibly by the divine beauty of the day. There is some charm unutterable in the morning air, cool with the coolness of Japanese spring and wind-waves from the snowy cone of Fuji; a charm perhaps due rather to softest lucidity than to any positive tone--an atmospheric limpidity extraordinary, with only a suggestion of blue in it, through which the most distant objects appear focused with amazing sharpness. The sun is only pleasantly warm; the jinricksha, or kuruma, is the most cosy little vehicle imaginable; and the street-vistas, as seen above the dancing white mushroom-shaped hat of my sandalled runner, have an allurement of which I fancy that I could never weary. \n\nElfish everything seems; for everything as well as everybody is small, and queer, and mysterious: the little houses under their blue roofs, the little shop-fronts hung with blue, and the smiling little people in their blue costumes. The illusion is only broken by the occasional passing of a tall foreigner, and by divers shop-signs bearing announcements in absurd attempts at English. Nevertheless such discords only serve to emphasise reality; they never materially lessen the fascination of the funny little streets. \n\n\u0027Tis at first a delightfully odd confusion only, as you look down one of them, through an interminable flutter of flags and swaying of dark blue drapery, all made beautiful and mysterious with Japanese or Chinese lettering. For there are no immediately discernible laws of construction or decoration: each building seems to have a fantastic prettiness of its own; nothing is exactly like anything else, and all is bewilderingly novel. But gradually, after an hour passed in the quarter, the eye begins to recognise in a vague way some general plan in the construction of these low, light, queerly-gabled wooden houses, mostly unpainted, with their first stories all open to the street, and thin strips of roofing sloping above each shop-front, like awnings, back to the miniature balconies of paper-screened second stories. You begin to understand the common plan of the tiny shops, with their matted floors well raised above the street level, and the general perpendicular arrangement of sign-lettering, whether undulating on drapery or glimmering on gilded and lacquered signboards. You observe that the same rich dark blue which dominates in popular costume rules also in shop draperies, though there is a sprinkling of other tints--bright blue and white and red (no greens or yellows). And then you note also that the dresses of the labourers are lettered with the same wonderful lettering as the shop draperies. No arabesques could produce such an effect. As modified for decorative purposes these ideographs have a speaking symmetry which no design without a meaning could possess. As they appear on the back of a workman\u0027s frock--pure white on dark blue--and large enough to be easily read at a great distance (indicating some guild or company of which the wearer is a member or employee), they give to the poor cheap garment a fictitious appearance of splendour. And finally, while you are still puzzling over the mystery of things, there will come to you like a revelation the knowledge that most of the amazing picturesqueness of these streets is simply due to the profusion of Chinese and Japanese characters in white, black, blue, or gold, decorating everything--even surfaces of doorposts and paper screens. Perhaps, then, for one moment, you will imagine the effect of English lettering substituted for those magical characters; and the mere idea will give to whatever aesthetic sentiment you may possess a brutal shock, and you will become, as I have become, an enemy of the Romaji-Kwai--that society founded for the ugly utilitarian purpose of introducing the use of English letters in writing Japanese. \n\nSec. 2 \n\nAn ideograph does not make upon the Japanese brain any impression similar to that created in the Occidental brain by a letter or combination of letters--dull, inanimate symbols of vocal sounds. To the Japanese brain an ideograph is a vivid picture: it lives; it speaks; it gesticulates. And the whole space of a Japanese street is full of such living characters--figures that cry out to the eyes, words that smile or grimace like faces. \n\nWhat such lettering is, compared with our own lifeless types, can be understood only by those who have lived in the farther East. For even the printed characters of Japanese or Chinese imported texts give no suggestion of the possible beauty of the same characters as modified for decorative inscriptions, for sculptural use, or for the commonest advertising purposes. No rigid convention fetters the fancy of the calligrapher or designer: each strives to make his characters more beautiful than any others; and generations upon generations of artists have been toiling from time immemorial with like emulation, so that through centuries and centuries of tireless effort and study, the primitive hieroglyph or ideograph has been evolved into a thing of beauty indescribable. It consists only of a certain number of brush-strokes; but in each stroke there is an undiscoverable secret art of grace, proportion, imperceptible curve, which actually makes it seem alive, and bears witness that even during the lightning-moment of its creation the artist felt with his brush for the ideal shape of the stroke equally along its entire length, from head to tail. But the art of the strokes is not all; the art of their combination is that which produces the enchantment, often so as to astonish the Japanese themselves. It is not surprising, indeed, considering the strangely personal, animate, esoteric aspect of Japanese lettering, that there should be wonderful legends of calligraphy relating how words written by holy experts became incarnate, and descended from their tablets to hold converse with mankind. \n\nSec. 3 \n\nMy kurumaya calls himself \u0027Cha.\u0027 He has a white hat which looks like the top of an enormous mushroom; a short blue wide-sleeved jacket; blue drawers, close-fitting as \u0027tights,\u0027 and reaching to his ankles; and light straw sandals bound upon his bare feet with cords of palmetto-fibre. Doubtless he typifies all the patience, endurance, and insidious coaxing powers of his class. He has already manifested his power to make me give him more than the law allows; and I have been warned against him in vain. For the first sensation of having a human being for a horse, trotting between shafts, unwearyingly bobbing up and down before you for hours, is alone enough to evoke a feeling of compassion. And when this human being, thus trotting between shafts, with all his hopes, memories, sentiments, and comprehensions, happens to have the gentlest smile, and the power to return the least favour by an apparent display of infinite gratitude, this compassion becomes sympathy, and provokes unreasoning impulses to self-sacrifice. I think the sight of the profuse perspiration has also something to do with the feeling, for it makes one think of the cost of heart-beats and muscle-contractions, likewise of chills, congestions, and pleurisy. Cha\u0027s clothing is drenched; and he mops his face with a small sky-blue towel, with figures of bamboo-sprays and sparrows in white upon it, which towel he carries wrapped about his wrist as he runs. \n\nThat, however, which attracts me in Cha--Cha considered not as a motive power at all, but as a personality--I am rapidly learning to discern in the multitudes of faces turned toward us as we roll through these miniature streets. And perhaps the supremely pleasurable impression of this morning is that produced by the singular gentleness of popular scrutiny. Everybody looks at you curiously; but there is never anything disagreeable, much less hostile in the gaze: most commonly it is accompanied by a smile or half smile. And the ultimate consequence of all these kindly curious looks and smiles is that the stranger finds himself thinking of fairy-land. Hackneyed to the degree of provocation this statement no doubt is: everybody describing the sensations of his first Japanese day talks of the land as fairyland, and of its people as fairy-folk. Yet there is a natural reason for this unanimity in choice of terms to describe what is almost impossible to describe more accurately at the first essay. To find one\u0027s self suddenly in a world where everything is upon a smaller and daintier scale than with us--a world of lesser and seemingly kindlier beings, all smiling at you as if to wish you well--a world where all movement is slow and soft, and voices are hushed--a world where land, life, and sky are unlike all that one has known elsewhere--this is surely the realisation, for imaginations nourished with English folklore, of the old dream of a World of Elves. \n\n1-2.Two years in the French West Indies \n 荷運び女 \n Martinique Sketches: Les Porteuses \n\nI. \n\nWhen you find yourself for the first time, upon some unshadowed day, in the delightful West Indian city of St. Pierre,--supposing that you own the sense of poetry, the recollections of a student,--there is apt to steal upon your fancy an impression of having seen it all before, ever so long ago,--you cannot tell where. The sensation of some happy dream you cannot wholly recall might be compared to this feeling. In the simplicity and solidity of the quaint architecture,--in the eccentricity of bright narrow streets, all aglow with warm coloring,--in the tints of roof and wall, antiquated by streakings and patchings of mould greens and grays,--in the startling absence of window-sashes, glass, gas lamps, and chimneys,--in the blossom-tenderness of the blue heaven, the splendor of tropic light, and the warmth of the tropic wind,--you find less the impression of a scene of to-day than the sensation of something that was and is not. Slowly this feeling strengthens with your pleasure in the colorific radiance of costume,--the semi-nudity of passing figures,--the puissant shapeliness of torsos ruddily swart like statue metal,--the rounded outline of limbs yellow as tropic fruit,--the grace of attitudes,--the unconscious harmony of groupings,--the gathering and folding and falling of light robes that oscillate with swaying of free hips,--the sculptural symmetry of unshod feet. You look up and down the lemon-tinted streets,--down to the dazzling azure brightness of meeting sky and sea; up to the perpetual verdure of mountain woods--wondering at the mellowness of tones, the sharpness of lines in the light, the diaphaneity of colored shadows; always asking memory: \"When?... where did I see all this... long ago?\".... \n\nThen, perhaps, your gaze is suddenly riveted by the vast and solemn beauty of the verdant violet-shaded mass of the dead Volcano,--high-towering above the town, visible from all its ways, and umbraged, maybe, with thinnest curlings of cloud,--like spectres of its ancient smoking to heaven. And all at once the secret of your dream is revealed, with the rising of many a luminous memory,--dreams of the Idyllists, flowers of old Sicilian song, fancies limned upon Pompeiian walls. For a moment the illusion is delicious: you comprehend as never before the charm of a vanished world,--the antique life, the story of terra-cottas and graven stones and gracious things exhumed: even the sun is not of to-day, but of twenty centuries gone;--thus, and under such a light, walked the women of the elder world. You know the fancy absurd;--that the power of the orb has visibly abated nothing in all the eras of man,--that millions are the ages of his almighty glory; but for one instant of reverie he seemeth larger,--even that sun impossible who coloreth the words, coloreth the works of artist-lovers of the past, with the gold light of dreams.\n\nToo soon the hallucination is broken by modern sounds, dissipated by modern sights,--rough trolling of sailors descending to their boats,--the heavy boom of a packet\u0027s signal-gun,--the passing of an American buggy. Instantly you become aware that the melodious tongue spoken by the passing throng is neither Hellenic nor Roman: only the beautiful childish speech of French slaves. \n\nII. \n\nBut what slaves were the fathers of this free generation? Your anthropologists, your ethnologists, seem at fault here: the African traits have become transformed; the African characteristics have been so modified within little more than two hundred years--by inter-blending of blood, by habit, by soil and sun and all those natural powers which shape the mould of races,--that you may look in vain for verification of ethnological assertions.... No: the heel does _not_ protrude;--the foot is _not_ flat, but finely arched;--the extremities are not large;--all the limbs taper, all the muscles are developed; and prognathism has become so rare that months of research may not yield a single striking case of it.... No: this is a special race, peculiar to the island as are the shapes of its peaks,--a mountain race; and mountain races are comely.... Compare it with the population of black Barbadoes, where the apish grossness of African coast types has been perpetuated unchanged;--and the contrast may well astonish!... \n\nIII. \n\nThe erect carriage and steady swift walk of the women who bear burdens is especially likely to impress the artistic observer: it is the sight of such passers-by which gives, above all, the antique tone and color to his first sensations;--and the larger part of the female population of mixed race are practised carriers. Nearly all the transportation of light merchandise, as well as of meats, fruits, vegetables, and food stuffs,--to and from the interior,--is effected upon human heads. At some of the ports the regular local packets are loaded and unloaded by women and girls,--able to carry any trunk or box to its destination. At Fort-de-France the great steamers of the Compagnie Generale Transatlantique, are entirely coaled by women, who carry the coal on their heads, singing as they come and go in processions of hundreds; and the work is done with incredible rapidity. Now, the creole _porteuse_, or female carrier, is certainly one of the most remarkable physical types in the world; and whatever artistic enthusiasm her graceful port, lithe walk, or half-savage beauty may inspire you with, you can form no idea, if a total stranger, what a really wonderful being she is.... Let me tell you something about that highest type of professional female carrier, which is to the _charbonniere_, or coaling-girl, what the thorough-bred racer is to the draught-horse,--the type of porteuse selected for swiftness and endurance to distribute goods in the interior parishes, or to sell on commission at long distances. To the same class \nnaturally belong those country carriers able to act as porteuses of plantation produce, fruits, or vegetables,--between the nearer ports and their own interior parishes.... Those who believe that great physical endurance and physical energy cannot exist in the tropics do not know the creole carrier-girl. ", "subitem_description_type": "Abstract"}]}, "item_8_description_41": {"attribute_name": "資源タイプ(DSpace)", "attribute_value_mlt": [{"subitem_description": "Recording, oral", "subitem_description_type": "Other"}]}, "item_8_description_5": {"attribute_name": "内容記述", "attribute_value_mlt": [{"subitem_description": "中島淑恵(富山大学人文学部教授)が,これまでの研究成果を踏まえ,Lafcadio Hearn=ラフカディオ・ハーン=小泉八雲に関する様々を語る\nこれは,当日,会場でICレコーダを用いて収録したMP3形式の音声ファイル", "subitem_description_type": "Other"}]}, "item_8_description_6": {"attribute_name": "会議概要(会議名, 開催地, 会期, 主催者等)", "attribute_value_mlt": [{"subitem_description": "日時:2018年4月25日(水)13:00~14:30\n場所:富山大学附属図書館5階ヘルン文庫", "subitem_description_type": "Other"}]}, "item_8_full_name_3": {"attribute_name": "著者別名", "attribute_value_mlt": [{"nameIdentifiers": [{"nameIdentifier": "373", "nameIdentifierScheme": "WEKO"}, {"nameIdentifier": "9000002439148", "nameIdentifierScheme": "CiNii ID", "nameIdentifierURI": "http://ci.nii.ac.jp/nrid/9000002439148"}, {"nameIdentifier": "20293277", 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"subitem_subject_scheme": "Other"}, {"subitem_subject": "Lafcadio Hearn", "subitem_subject_language": "en", "subitem_subject_scheme": "Other"}]}, "item_language": {"attribute_name": "言語", "attribute_value_mlt": [{"subitem_language": "jpn"}]}, "item_resource_type": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"resourcetype": "conference object", "resourceuri": "http://purl.org/coar/resource_type/c_c94f"}]}, "item_title": "へるんトーク第1回(音声ファイル)", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "へるんトーク第1回(音声ファイル)"}, {"subitem_title": "1st Hearn talk: audio file", "subitem_title_language": "en"}]}, "item_type_id": "8", "owner": "19", "path": ["1779"], "permalink_uri": "http://hdl.handle.net/10110/00018494", "pubdate": {"attribute_name": "公開日", "attribute_value": "2018-04-25"}, "publish_date": "2018-04-25", "publish_status": "0", "recid": "16037", "relation": {}, "relation_version_is_last": true, "title": ["へるんトーク第1回(音声ファイル)"], "weko_shared_id": -1}
へるんトーク第1回(音声ファイル)
http://hdl.handle.net/10110/00018494
http://hdl.handle.net/10110/000184941c3e2e33-f19a-41a9-8de2-8eca3523757f
Item type | 会議発表用資料 / Presentation(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2018-04-25 | |||||
タイトル | ||||||
タイトル | へるんトーク第1回(音声ファイル) | |||||
タイトル | ||||||
言語 | en | |||||
タイトル | 1st Hearn talk: audio file | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 小泉八雲 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | ラフカディオ・ハーン | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | へるん | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | へるん先生 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | へるん研究会 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | へるん文庫 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | ヘルン文庫 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | Lafcadio Hearn | |||||
資源タイプ | ||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_c94f | |||||
資源タイプ | conference object | |||||
著者 |
中島, 淑恵
× 中島, 淑恵 |
|||||
著者別名 | ||||||
姓名 | Nakajima, Toshie | |||||
その他(別言語等)のタイトル | ||||||
その他のタイトル | 1st Hearn talk: audio file | |||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | テーマ:日本の第一印象―未知の感動を伝えること― 0-1.ハーンの生涯と著作 ・ハーンの生涯 【幼年期~少年期(0~19歳)1850年6月27日~1869年】 1850年6月27日 ギリシアのレフカダ島に生まれる 父はアイルランド人医師(当時英国軍医) 母はギリシア人 1852年 家族とともにダブリン(アイルランド)移住 1854年 母,単身帰国 1861年 イヴトー(フランスのノルマンディー地方)の教会学校に入学? 1863年 アショー・カレッジ(イギリスのダーラム)に入学 1866年 左眼を失明,この年父死去 1867年 アショー・カレッジ中退 以降渡米までの足跡が不明 このあと,フランスの神学校へ入学したという説もある ロンドンで貧乏な生活を送る 【アメリカ時代 1869年~1890年】 1869年 イギリスまたはフランスからアメリカ・ニューヨークに到着 オハイオ州シンシナティへ 印刷屋の下働き,牧師の秘書などを務め,週刊誌などに投稿を始める 1874年 「シンシナティ・エンクワイアラー」紙の社員となる(75年に解雇) 1877年 ルイジアナ州ニューオリンズに移る 「アイテム」紙・「デモクラット」紙に寄稿 フランス文学の翻訳を試みる (ボードレール,ゴーティエ,フロベールなど) クレオール文化や文学に関心を抱く 1881年 「タイムズ・デモクラット」の文芸部長となる →蔵書300冊を超える 1885年12月16日 万国産業綿花百年記念博覧会見学 日本館の展示品に興味を惹かれる 服部一三,高峰譲吉と出会う ピエール・ロティと文通 1886年 仏領西インド諸島訪問。約2年間滞在 1889年 ニューヨークに戻る 1890年 日本行きを決意 【日本時代 1890年4月~1904年9月26日】 1890年4月 横浜に到着。チェンバレンの知己を得る 横山の神社仏閣をめぐる。江の島・鎌倉を見学 1890年7月 島根尋常中学校および師範学校の英語教師となる契約を結ぶ 8月松江入り。9月初めから授業開始 「へるん」印をつくる,小泉セツと出会う 1891年11月 熊本にセツ一家とともに移住,第五高等学校で授業を始める 1893年 長男一雄誕生 1894年 神戸クロニクル社に転職。熊本を離れる 1896年 帰化。小泉八雲となる。入籍 1896年 帝国大学文科大学講師となる 英文学史・詩論・詩人論などを週12時間講義 日本に関する著作を精力的に発表 1903年1月 東京帝国大学解雇 この次期渡米も考えていたが,健康上の理由で断念 1904年3月 早稲田大学にて英文学と英文学史の講義を行う 1904年9月26日 心臓発作のため死去 ・ハーンの著作 【米国時代:7冊】 Stray leaves from strange literature (1884年) Gombo Zhèbes: Little Dictionary of Creole Proverbs (1885年) La cuisine creole : a collection of culinary recipes (1885年) Some Chinese ghosts (1887年) Chita: a memory of Last island (1889年) Youma; the story of a West-Indian slave (1890年) Two years in the French West Indies (1890年) 米国時代の新聞記事,コラムなど シンシナティ時代『シンシナティ・インクワイアラー』 ニューオリンズ時代『アイテム』『タイムズ・デモクラット』のちに文芸部長 【来日後:12冊】 Glimpses of unfamiliar Japan (1894年) Out of the East: reveries and studies in New Japan (1895年) Kokoro : hints and echoes of Japanese inner life (1896年) Gleanings in Buddha-fields : Studies of hand and soul in the Far East (1897年) Exotics and retrospectives (1898年) In ghostly Japan (1899年) Shadowings (1900年) A Japanese miscellany (1901年) Kotto: Being Japanese Curios, with Sundry Cobwebs (1902年) Kwaidan: : Stories and studies of strange things (1904年) Japan : an attempt at interpretation (1904年) The romance of the Milky Way and other studies & stories (1905年) ちりめん本5冊(長谷川武次郎刊行の日本昔噺シリーズ:Japanese Fairy Tale) The Boy who drew Cats (1898年) The Goblin Spider (1899年) The old Woman who lost her Dumpling (1902年) Chin Chin Kobakama-The Fairies of the Floor-Boards (1903年) The Fountain of Youth (1922年) 【ハーンの講義録】 第五高等学校(熊本・現熊本大学) 東京帝国大学(東京・現東京大学) 「英語」「英文学」「英文学史」「文学論」 その時の学生のノートをもとに講義録が出版されている 0-2.富山大学附属図書館所蔵ヘルン文庫の構成 ・洋書2,069冊 英語で書かれた本:1,350冊 フランス語で書かれた本:719冊 ・和漢書364冊 ・Japan: An Attempt at Interpretation 『日本一つの解明』手書き原稿上下 1,200枚 ※このうち500冊近くは,来日時にハーンがアメリカにおいてきた本 友人宅にいわば借金のかたとして置いてきたままになり,ハーン没後,係争ののち,1908年に小泉家に返却された →ハーンは生前二度と目にすることはできなかった (カタログでは「*」がついている) ・旧制富山高等学校および富山大学で作成された3つのカタログ ※以下は資料(原文と日本語訳)配布のみ。 1-1.Glimpses of unfamiliar Japan 第1章:極東第一日 My first day in the orient 'Do not fail to write down your first impressions as soon as possible,' said a kind English professor [Basil Hall Chamberlain: PREPARATOR'S NOTE] whom I had the pleasure of meeting soon after my arrival in Japan: 'they are evanescent, you know; they will never come to you again, once they have faded out; and yet of all the strange sensations you may receive in this country you will feel none so charming as these.' I am trying now to reproduce them from the hasty notes of the time, and find that they were even more fugitive than charming; something has evaporated from all my recollections of them--something impossible to recall. I neglected the friendly advice, in spite of all resolves to obey it: I could not, in those first weeks, resign myself to remain indoors and write, while there was yet so much to see and hear and feel in the sun-steeped ways of the wonderful Japanese city. Still, even could I revive all the lost sensations of those first experiences, I doubt if I could express and fix them in words. The first charm of Japan is intangible and volatile as a perfume. It began for me with my first kuruma-ride out of the European quarter of Yokohama into the Japanese town; and so much as I can recall of it is hereafter set down. Sec. 1 It is with the delicious surprise of the first journey through Japanese streets--unable to make one's kuruma-runner understand anything but gestures, frantic gestures to roll on anywhere, everywhere, since all is unspeakably pleasurable and new--that one first receives the real sensation of being in the Orient, in this Far East so much read of, so long dreamed of, yet, as the eyes bear witness, heretofore all unknown. There is a romance even in the first full consciousness of this rather commonplace fact; but for me this consciousness is transfigured inexpressibly by the divine beauty of the day. There is some charm unutterable in the morning air, cool with the coolness of Japanese spring and wind-waves from the snowy cone of Fuji; a charm perhaps due rather to softest lucidity than to any positive tone--an atmospheric limpidity extraordinary, with only a suggestion of blue in it, through which the most distant objects appear focused with amazing sharpness. The sun is only pleasantly warm; the jinricksha, or kuruma, is the most cosy little vehicle imaginable; and the street-vistas, as seen above the dancing white mushroom-shaped hat of my sandalled runner, have an allurement of which I fancy that I could never weary. Elfish everything seems; for everything as well as everybody is small, and queer, and mysterious: the little houses under their blue roofs, the little shop-fronts hung with blue, and the smiling little people in their blue costumes. The illusion is only broken by the occasional passing of a tall foreigner, and by divers shop-signs bearing announcements in absurd attempts at English. Nevertheless such discords only serve to emphasise reality; they never materially lessen the fascination of the funny little streets. 'Tis at first a delightfully odd confusion only, as you look down one of them, through an interminable flutter of flags and swaying of dark blue drapery, all made beautiful and mysterious with Japanese or Chinese lettering. For there are no immediately discernible laws of construction or decoration: each building seems to have a fantastic prettiness of its own; nothing is exactly like anything else, and all is bewilderingly novel. But gradually, after an hour passed in the quarter, the eye begins to recognise in a vague way some general plan in the construction of these low, light, queerly-gabled wooden houses, mostly unpainted, with their first stories all open to the street, and thin strips of roofing sloping above each shop-front, like awnings, back to the miniature balconies of paper-screened second stories. You begin to understand the common plan of the tiny shops, with their matted floors well raised above the street level, and the general perpendicular arrangement of sign-lettering, whether undulating on drapery or glimmering on gilded and lacquered signboards. You observe that the same rich dark blue which dominates in popular costume rules also in shop draperies, though there is a sprinkling of other tints--bright blue and white and red (no greens or yellows). And then you note also that the dresses of the labourers are lettered with the same wonderful lettering as the shop draperies. No arabesques could produce such an effect. As modified for decorative purposes these ideographs have a speaking symmetry which no design without a meaning could possess. As they appear on the back of a workman's frock--pure white on dark blue--and large enough to be easily read at a great distance (indicating some guild or company of which the wearer is a member or employee), they give to the poor cheap garment a fictitious appearance of splendour. And finally, while you are still puzzling over the mystery of things, there will come to you like a revelation the knowledge that most of the amazing picturesqueness of these streets is simply due to the profusion of Chinese and Japanese characters in white, black, blue, or gold, decorating everything--even surfaces of doorposts and paper screens. Perhaps, then, for one moment, you will imagine the effect of English lettering substituted for those magical characters; and the mere idea will give to whatever aesthetic sentiment you may possess a brutal shock, and you will become, as I have become, an enemy of the Romaji-Kwai--that society founded for the ugly utilitarian purpose of introducing the use of English letters in writing Japanese. Sec. 2 An ideograph does not make upon the Japanese brain any impression similar to that created in the Occidental brain by a letter or combination of letters--dull, inanimate symbols of vocal sounds. To the Japanese brain an ideograph is a vivid picture: it lives; it speaks; it gesticulates. And the whole space of a Japanese street is full of such living characters--figures that cry out to the eyes, words that smile or grimace like faces. What such lettering is, compared with our own lifeless types, can be understood only by those who have lived in the farther East. For even the printed characters of Japanese or Chinese imported texts give no suggestion of the possible beauty of the same characters as modified for decorative inscriptions, for sculptural use, or for the commonest advertising purposes. No rigid convention fetters the fancy of the calligrapher or designer: each strives to make his characters more beautiful than any others; and generations upon generations of artists have been toiling from time immemorial with like emulation, so that through centuries and centuries of tireless effort and study, the primitive hieroglyph or ideograph has been evolved into a thing of beauty indescribable. It consists only of a certain number of brush-strokes; but in each stroke there is an undiscoverable secret art of grace, proportion, imperceptible curve, which actually makes it seem alive, and bears witness that even during the lightning-moment of its creation the artist felt with his brush for the ideal shape of the stroke equally along its entire length, from head to tail. But the art of the strokes is not all; the art of their combination is that which produces the enchantment, often so as to astonish the Japanese themselves. It is not surprising, indeed, considering the strangely personal, animate, esoteric aspect of Japanese lettering, that there should be wonderful legends of calligraphy relating how words written by holy experts became incarnate, and descended from their tablets to hold converse with mankind. Sec. 3 My kurumaya calls himself 'Cha.' He has a white hat which looks like the top of an enormous mushroom; a short blue wide-sleeved jacket; blue drawers, close-fitting as 'tights,' and reaching to his ankles; and light straw sandals bound upon his bare feet with cords of palmetto-fibre. Doubtless he typifies all the patience, endurance, and insidious coaxing powers of his class. He has already manifested his power to make me give him more than the law allows; and I have been warned against him in vain. For the first sensation of having a human being for a horse, trotting between shafts, unwearyingly bobbing up and down before you for hours, is alone enough to evoke a feeling of compassion. And when this human being, thus trotting between shafts, with all his hopes, memories, sentiments, and comprehensions, happens to have the gentlest smile, and the power to return the least favour by an apparent display of infinite gratitude, this compassion becomes sympathy, and provokes unreasoning impulses to self-sacrifice. I think the sight of the profuse perspiration has also something to do with the feeling, for it makes one think of the cost of heart-beats and muscle-contractions, likewise of chills, congestions, and pleurisy. Cha's clothing is drenched; and he mops his face with a small sky-blue towel, with figures of bamboo-sprays and sparrows in white upon it, which towel he carries wrapped about his wrist as he runs. That, however, which attracts me in Cha--Cha considered not as a motive power at all, but as a personality--I am rapidly learning to discern in the multitudes of faces turned toward us as we roll through these miniature streets. And perhaps the supremely pleasurable impression of this morning is that produced by the singular gentleness of popular scrutiny. Everybody looks at you curiously; but there is never anything disagreeable, much less hostile in the gaze: most commonly it is accompanied by a smile or half smile. And the ultimate consequence of all these kindly curious looks and smiles is that the stranger finds himself thinking of fairy-land. Hackneyed to the degree of provocation this statement no doubt is: everybody describing the sensations of his first Japanese day talks of the land as fairyland, and of its people as fairy-folk. Yet there is a natural reason for this unanimity in choice of terms to describe what is almost impossible to describe more accurately at the first essay. To find one's self suddenly in a world where everything is upon a smaller and daintier scale than with us--a world of lesser and seemingly kindlier beings, all smiling at you as if to wish you well--a world where all movement is slow and soft, and voices are hushed--a world where land, life, and sky are unlike all that one has known elsewhere--this is surely the realisation, for imaginations nourished with English folklore, of the old dream of a World of Elves. 1-2.Two years in the French West Indies 荷運び女 Martinique Sketches: Les Porteuses I. When you find yourself for the first time, upon some unshadowed day, in the delightful West Indian city of St. Pierre,--supposing that you own the sense of poetry, the recollections of a student,--there is apt to steal upon your fancy an impression of having seen it all before, ever so long ago,--you cannot tell where. The sensation of some happy dream you cannot wholly recall might be compared to this feeling. In the simplicity and solidity of the quaint architecture,--in the eccentricity of bright narrow streets, all aglow with warm coloring,--in the tints of roof and wall, antiquated by streakings and patchings of mould greens and grays,--in the startling absence of window-sashes, glass, gas lamps, and chimneys,--in the blossom-tenderness of the blue heaven, the splendor of tropic light, and the warmth of the tropic wind,--you find less the impression of a scene of to-day than the sensation of something that was and is not. Slowly this feeling strengthens with your pleasure in the colorific radiance of costume,--the semi-nudity of passing figures,--the puissant shapeliness of torsos ruddily swart like statue metal,--the rounded outline of limbs yellow as tropic fruit,--the grace of attitudes,--the unconscious harmony of groupings,--the gathering and folding and falling of light robes that oscillate with swaying of free hips,--the sculptural symmetry of unshod feet. You look up and down the lemon-tinted streets,--down to the dazzling azure brightness of meeting sky and sea; up to the perpetual verdure of mountain woods--wondering at the mellowness of tones, the sharpness of lines in the light, the diaphaneity of colored shadows; always asking memory: "When?... where did I see all this... long ago?".... Then, perhaps, your gaze is suddenly riveted by the vast and solemn beauty of the verdant violet-shaded mass of the dead Volcano,--high-towering above the town, visible from all its ways, and umbraged, maybe, with thinnest curlings of cloud,--like spectres of its ancient smoking to heaven. And all at once the secret of your dream is revealed, with the rising of many a luminous memory,--dreams of the Idyllists, flowers of old Sicilian song, fancies limned upon Pompeiian walls. For a moment the illusion is delicious: you comprehend as never before the charm of a vanished world,--the antique life, the story of terra-cottas and graven stones and gracious things exhumed: even the sun is not of to-day, but of twenty centuries gone;--thus, and under such a light, walked the women of the elder world. You know the fancy absurd;--that the power of the orb has visibly abated nothing in all the eras of man,--that millions are the ages of his almighty glory; but for one instant of reverie he seemeth larger,--even that sun impossible who coloreth the words, coloreth the works of artist-lovers of the past, with the gold light of dreams. Too soon the hallucination is broken by modern sounds, dissipated by modern sights,--rough trolling of sailors descending to their boats,--the heavy boom of a packet's signal-gun,--the passing of an American buggy. Instantly you become aware that the melodious tongue spoken by the passing throng is neither Hellenic nor Roman: only the beautiful childish speech of French slaves. II. But what slaves were the fathers of this free generation? Your anthropologists, your ethnologists, seem at fault here: the African traits have become transformed; the African characteristics have been so modified within little more than two hundred years--by inter-blending of blood, by habit, by soil and sun and all those natural powers which shape the mould of races,--that you may look in vain for verification of ethnological assertions.... No: the heel does _not_ protrude;--the foot is _not_ flat, but finely arched;--the extremities are not large;--all the limbs taper, all the muscles are developed; and prognathism has become so rare that months of research may not yield a single striking case of it.... No: this is a special race, peculiar to the island as are the shapes of its peaks,--a mountain race; and mountain races are comely.... Compare it with the population of black Barbadoes, where the apish grossness of African coast types has been perpetuated unchanged;--and the contrast may well astonish!... III. The erect carriage and steady swift walk of the women who bear burdens is especially likely to impress the artistic observer: it is the sight of such passers-by which gives, above all, the antique tone and color to his first sensations;--and the larger part of the female population of mixed race are practised carriers. Nearly all the transportation of light merchandise, as well as of meats, fruits, vegetables, and food stuffs,--to and from the interior,--is effected upon human heads. At some of the ports the regular local packets are loaded and unloaded by women and girls,--able to carry any trunk or box to its destination. At Fort-de-France the great steamers of the Compagnie Generale Transatlantique, are entirely coaled by women, who carry the coal on their heads, singing as they come and go in processions of hundreds; and the work is done with incredible rapidity. Now, the creole _porteuse_, or female carrier, is certainly one of the most remarkable physical types in the world; and whatever artistic enthusiasm her graceful port, lithe walk, or half-savage beauty may inspire you with, you can form no idea, if a total stranger, what a really wonderful being she is.... Let me tell you something about that highest type of professional female carrier, which is to the _charbonniere_, or coaling-girl, what the thorough-bred racer is to the draught-horse,--the type of porteuse selected for swiftness and endurance to distribute goods in the interior parishes, or to sell on commission at long distances. To the same class naturally belong those country carriers able to act as porteuses of plantation produce, fruits, or vegetables,--between the nearer ports and their own interior parishes.... Those who believe that great physical endurance and physical energy cannot exist in the tropics do not know the creole carrier-girl. |
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内容記述タイプ | Other | |||||
内容記述 | 中島淑恵(富山大学人文学部教授)が,これまでの研究成果を踏まえ,Lafcadio Hearn=ラフカディオ・ハーン=小泉八雲に関する様々を語る これは,当日,会場でICレコーダを用いて収録したMP3形式の音声ファイル |
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会議概要(会議名, 開催地, 会期, 主催者等) | ||||||
内容記述タイプ | Other | |||||
内容記述 | 日時:2018年4月25日(水)13:00~14:30 場所:富山大学附属図書館5階ヘルン文庫 |
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発表年月日 | ||||||
日付 | 2018-04-25 | |||||
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内容記述 | application/mp3 | |||||
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出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||
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出版者 | 富山大学附属図書館 | |||||
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内容記述 | Recording, oral | |||||
関係URI | ||||||
識別子タイプ | URI | |||||
関連識別子 | https://archive.org/details/glimpsesofunfami01hearuoft | |||||
関連名称 | Vol 1: Glimpses of unfamiliar Japan (Internet Archive) | |||||
関係URI | ||||||
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関連識別子 | https://archive.org/details/glimpsesofunfami02hear | |||||
関連名称 | Vol 2: Glimpses of unfamiliar Japan (Internet Archive) | |||||
関係URI | ||||||
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関連識別子 | https://archive.org/details/cu31924021116466 | |||||
関連名称 | Two years in the French West Indies (Internet Archive) | |||||
関係URI | ||||||
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関連識別子 | http://hdl.handle.net/10110/00019518 | |||||
関連名称 | 富山大学附属図書館所蔵ヘルン(小泉八雲)(ラフカディオ・ハーン)文庫目録 : テキスト版 (ToRepo) | |||||
関係URI | ||||||
識別子タイプ | HDL | |||||
関連識別子 | http://hdl.handle.net/10110/79 | |||||
関連名称 | Catalogue of the Lafcadio Hearn Library in the Toyama High School (1927) (ToRepo) | |||||
関係URI | ||||||
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関連識別子 | http://hdl.handle.net/10110/78 | |||||
関連名称 | 富山大学ヘルン文庫所蔵ヘルン関係文献解説付目録 (1982) (ToRepo) | |||||
関係URI | ||||||
識別子タイプ | HDL | |||||
関連識別子 | http://hdl.handle.net/10110/10602 | |||||
関連名称 | 富山大学ヘルン文庫所蔵小泉八雲(ラフ力ディオ・ハーン)関係文献目録 : 改訂版 第2次補遺版,1999年3月末現在 (ToRepo) | |||||
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関係URI | ||||||
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関連名称 | へるんトーク第7回(音声ファイル)(ToRepo) |