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「日本精神の国粋」からカノンまで

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This paper is a part of the research that explores how a representative of today’s Japanese ‘traditional culture’ or ‘traditional performing art’, Noh(能) had developed in the colonial Chosun and what kind of cultural apparatus it was working as.
The Noh, which started its revival as a state entertainment when a new power created by the Meiji Restoration had recognised it, has a history of 1)the preservation of its vitality under the protection of sovereign rulers of each period after the Zeami epoch, 2)the establishment of its firm position as an official ceremonial music - the ‘Shikikaku(式楽)’ - in the Tokugawa Bakufu era. Such Noh however, had duplicity under the empire of Japan which was modern and nation state that had a profound impact in Asia as a result of its expansionism and militarism.
On one hand, it was a performing art that symbolised the grandeur of empire, extolled as the ‘nationality of Japanese spirit(日本精神の国粋)’ and used as a cultural apparatus to uphold the national polity and boost the nationalism, with the glamorous appearance on the oustside.
On the other hand, it was deemed a ‘sacrilege’ towards the Japanese emperor, criticised as a popularisation movement and forced to assist the Entertainment Patriotism(芸能報国) as one of the ‘common’ performing arts due to the ‘Gigeisha-Sho’ system, which indicates the dark side of it.
This paper considers the polarity behind a discourse - that could be regarded as a sort of ideology - “the traditional Japanese culture that has been inherited over six-hundred years” as the cultural power’s dynamics and think about the problem ‘tradition’ and an era ‘modern’, focusing on the relationship between the power and performing art through the cultural apparatus called Noh.

목차

Ⅰ. はじめに
Ⅱ.「近代」と能
Ⅲ. 日本精神から「カノン」へ
Ⅳ. 権力と芸能の関係
Ⅴ. むすび
参考文献
Abstract

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UCI(KEPA) : I410-ECN-0101-2019-309-000578824