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This article examines how song-derived materials were selected in the form of tanka-style verse and reorganized within the internal framework of the imperial anthology, with particular focus on Book 20 of the Kokin Wakashū. Taking “Ise no Umi” as its central case, the study moves across three interrelated dimensions—kayōteki kioku (song-based memory), the process of “repositioning” within the imperial anthology, and reuse in narrative texts—in order to clarify how the same verbal material acquires different institutional positions and thereby changes its meaning and function. The differences in status between uta kotoba and song-text materials, as well as the repetition of opening phrases and variations in placement discussed in Sections 3 and 4, should be understood not as differences in individual expression but as the result of editorial judgments within the anthology’s institutional framework. By reconsidering the relationship between song and waka as a history of institutional “repositioning,” this article proposes a framework for understanding the dynamics of memory and compilation in court literature.
Research papers (publications of university or research institution)
