| Summary: | 碩士 === 臺灣大學 === 日本語文學研究所 === 96 === Yumeji Takehisa (1884 - 1934) had been heavily influenced by "joruri" (a ballad drama) and "ningyou" (puppets) through out his life. In almost all of his creations, traces of joruri and ningyou can be found; yet few research has been done in this direction which discusses the impact of joruri and ningyou on Yumeji.
This thesis will first investigate the influence on the young Yumeji of Menshibai (Mask Performance), a prosperous form of performance at Yumeji''s home town in Okayama, and joruri, a traditional Japanese ballad drama. By going through the various literature we can understand the form joruri has taken in Yumeji''s works. In chapter 2 section I and II, we discuss "Keiseiawanonaruto" as an example of Yumeji''s portrait of joruri; then we use the scene "Sodehagisaimon" from the performance "Oshuadachigahara" in section III to illustrate how Yumeji transforms these traditional art works into his own. We conclude the chapter by introducing a series of painting of Yumeji to see how his paintings in Taishou era are affected by jyoruri.
The term "ningyou" (puppets) often appear in Yumeji''s works which we propose as a base for he being influenced by joruri. We divide the term ningyou into three categories by their meanings and discuss these terms more thoroughly in Chapter 3. We further examines how Yumeji expresses his view of art with puppets in Chapter 4, using both the internal and the external view to check how Yumeji came to the decision of making his own puppets, as well as his obsession in puppet-making in Chapter 4 section 2. From the above points, we can illustrate how closely related joruri, ningyou and Yumeji were through out his entire life.
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