異性装物語考—古典の受容と表象の諸相—

Abstract

本研究旨在探討日本中古末期至中世異性裝物語對先行作品的受容與變革，透過考察特定作品的語彙、樂器運用及人物行為模式，揭示作者如何在社會框架下重新定義性別認同。在性別規範與時代背景下，異性裝不僅是王朝文學傳統的延續，更成為創作者回應時代困境、進行自我辯證與社會批判的核心裝置。 第一部分聚焦於《換身物語》，探討作者對平安朝美意識的繼承與轉化。研究發現該作品的設定雖特殊，實則精準沿襲了《源氏物語》及《夜半夢醒》等經典中「女性化男性」的審美傳統，並透過重新分析先行研究中也曾關注過的美質詞彙，勾勒出主角在社會規範下隱含的內心掙扎。 第二部分以《稚兒今參物語》中的琵琶演奏為核心，分析音樂意象的多層次受容。在本作中描寫琵琶演奏時不僅如先行研究指出的直接引用《源氏物語》「女樂」章節的語彙，更可發現承襲了其演奏者與社會地位的相關性，筆者認為這代表作者將樂器轉化為稚兒吸納苦難宿命及喚醒自身高貴血脈的媒介，進而完成從精神成長到身分回歸的敘事昇華。 第三部分則針對《新藏人》，剖析其對既往作品中成功模式的解體與批判。雖有先行研究指出，作者試圖導入《源氏物語》式階級翻轉與《不問自語》式的出家超脫作為模板，但本故事中階級翻轉終究未成功；也有其他研究指出繪卷的畫中詞對出家實情的控訴。筆者將先行研究間的衝突及人物行動模式的失敗，以所謂「逆寫」的視角解釋，認為作者意圖呈現出中世女性對父權規範的切實抵抗。 綜合上述，本論文中作為研究對象的異性裝物語經歷了從王朝浪漫主義向現實主義修正的轉型。筆者嘗試了分析後世作品對既有作品的不同繼承型態，並確認後世作品透過刻意召喚經典母題的手法，對既有性別與階級體制進行重新詮釋。

This study investigates the reception and transformation of classical Heian literature within medieval Japanese cross-dressing narratives. By scrutinizing the vocabulary, material culture, and narrative frameworks of specific works, the research illuminates how medieval authors redefined gender identity within prevailing social structures. Amidst the convergence of rigid gender protocols and the family status system, cross-dressing emerged not merely as a continuation of courtly traditions but as a central device for navigating medieval exigencies and articulating social critique. The first section focuses on Ima Torikaebaya, examining its inheritance of Heian aesthetic sensibilities. While the work has often been characterized by its eccentricity, it precisely follows the "feminized masculinity" tradition established in classics such as The Tale of Genji. Through the nuanced gendered distinctions of some terms, the author delineates the psychological turbulence and human depth of protagonists entangled in societal expectations. The second section analyzes the lute in Chigo Ima as a dimensional mnemonic medium. By adopting the terminology of the "Women’s Music" chapters from The Tale of Genji, the biwa functions as a symbol of loss and yearning, allowing the chigo to reconcile with their noble lineage and tragic destiny. This process facilitates a narrative sublimation, transitioning from spiritual maturation to the reclamation of social status. The third section introduces the concept of "counter-writing" in Shin Kurodo, deconstructing established paradigms of courtly success. While the work utilizes motifs from The Tale of Genji and the renunciatory transcendence of Towazugatari as templates, it ultimately exposes the failure of classical "salvation" scripts within the restrictive environment of the late Muromachi period. The portrayal of tangible class barriers and the critique of the "gender cage" in gachūshi reflect a poignant resistance against patriarchal norms. In conclusion, this study argues that medieval cross-dressing narratives underwent a pivotal shift from courtly romanticism toward a realistic revisionism. By strategically invoking classical motifs to subvert them, these texts provide a profound reinterpretation of entrenched gender and class hierarchies.