江戸後期戯作における刺青 葛飾北斎や歌川国芳などが描いた、『水滸伝』の英雄の身体の彩り鮮やかな刺青はよく知られているが、北斎以前の江戸時代においては刺青というものが戯作で自分を飾るための手段、かつ、自分のアイデンティティを表現する手段としてすでに語られていた。戯作の中では、男伊達、芸者および下級、時に中級の女郎はよく刺青と深い関りを示す。特に女郎の場合では、刺青は心中立ての表現でもあった。時には、刺青は登場人物の人格設定を支えることもあり、その人物はどんな者かを表現するために使われることがある。また刺青は物語の構造の軸になることもある。田螺金魚著『妓者呼子鳥』はその一つの例である。本稿は江戸後期文学の中の刺青の著述的意味を探ることを目的としている。「ホリモノ事件」などを含むテキストを紹介かつ分析し、それを例に江戸後期文学における間テキスト性はどう機能するかを考察する。

Tattoo in late Edo-period popular literature Even before Hokusai’s (1760-1849) and Kuniyoshi’s (1797-1861) flamboyant patterns on the Suikoden (Chinese: Shuihu zhuan, Water Margin, 14th century) heroes’ bodies, popular literature from the second half of the 18th century vividly testifies to the practice of tattooing for aesthetic or identitary purposes. Among the figures often connected to the practice of dermatography, there appeared the otokodate ‘the chivalrous young men’ and the female entertainers or prostitutes (often of low- or middle-rank prostitutes), who used tattoos as a means to swear eternal love to a customer. Sometimes tattoos support the characterisation of protagonists, unveiling their true role in the story, which may vary from story to story and according to where in Edo the plot is set. In other texts, tattos may become the central mechanism pushing the story forward, like in Geisha yobukodori (Geisha, the lamenting cuckoo, 1777). This paper seeks to analyse the significance of tattoos in the milieu of Edo pleasure quarters, by taking into exam some of its popular fictionalisations. The objective is twofold: on the one hand, it aims to make a survey of those stories in which tattoos function as a meaningful narrative mechanism is conducted; on the other hand, it uses the results of such survey to formulate some more general considerations about the intertextual relations among texts in Edo literature.

(2021). Il tatuaggio nella letteratura del tardo periodo Edo . Retrieved from http://hdl.handle.net/10446/179950

Il tatuaggio nella letteratura del tardo periodo Edo

Pallone, Cristian
2021-01-01

Abstract

Tattoo in late Edo-period popular literature Even before Hokusai’s (1760-1849) and Kuniyoshi’s (1797-1861) flamboyant patterns on the Suikoden (Chinese: Shuihu zhuan, Water Margin, 14th century) heroes’ bodies, popular literature from the second half of the 18th century vividly testifies to the practice of tattooing for aesthetic or identitary purposes. Among the figures often connected to the practice of dermatography, there appeared the otokodate ‘the chivalrous young men’ and the female entertainers or prostitutes (often of low- or middle-rank prostitutes), who used tattoos as a means to swear eternal love to a customer. Sometimes tattoos support the characterisation of protagonists, unveiling their true role in the story, which may vary from story to story and according to where in Edo the plot is set. In other texts, tattos may become the central mechanism pushing the story forward, like in Geisha yobukodori (Geisha, the lamenting cuckoo, 1777). This paper seeks to analyse the significance of tattoos in the milieu of Edo pleasure quarters, by taking into exam some of its popular fictionalisations. The objective is twofold: on the one hand, it aims to make a survey of those stories in which tattoos function as a meaningful narrative mechanism is conducted; on the other hand, it uses the results of such survey to formulate some more general considerations about the intertextual relations among texts in Edo literature.
2021
Pallone, Cristian
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10446/179950
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