@article{oai:juen.repo.nii.ac.jp:00004616,
 author = {中里,  理子 and Nakazato,  Michiko},
 issue = {2},
 journal = {上越教育大学研究紀要},
 month = {Mar},
 note = {近世の浄瑠璃と歌舞伎の脚本で使用されるオノマトぺについて、地の文と会話部分、ト書きと台詞に分けて、擬音語、擬情語、人物の態度等の擬態語、軍記物語的要素、という点からその特徴を考えた。浄瑠璃では地の文で擬情語や人物の態度を表す擬態語を種々使って人物の心情を表現している。擬音語にも工夫が見られる。また、年代が下るに連れて中世軍記物語に見られたオノマトペが少なくなり、当代のオノマトペの使用が目立ってくる。歌舞伎はト書き部分で演技の指示、鳴り物・効果音などの指示として固定化したオノマトペが使われている。台詞には多くの使用が見られるわけではないが当代の日常語的なオノマトペが使われている。, Onomatopoeias used in JORURI and in KABUKI in Edo period were examined about following four points; imitative words, emotional onomatopoeias, mimetic words and elements of medieval war tales. On JORURI, emotional onomatopoeias and mimetic words, which reflect attitudes in narratives onomatopoeias, were used for emotional expressions. And many kinds of imitative words were also found. As time passed colloquial onomatopoeias of those days increased while onomatopoeias derived from medieval war tales decreased in JORURI plays. As for KABUKI, onomatopoeias were used for directions of actor's performance, musical instruments and stage effects in parts of stage direction. For that reason, the onomatopoeias were typical and definitive. In lines, there were not so many onomatopoeias, but there were various kinds of colloquial onomatopoeias of those days.},
 pages = {671--682},
 title = {近世演劇のオノマトペ : 浄瑠璃と歌舞伎の脚本を対象に},
 volume = {22},
 year = {2003},
 yomi = {ナカザト, ミチコ}
}