@article{oai:juen.repo.nii.ac.jp:00004655,
 author = {小埜,  裕二 and Ono,  Yuji},
 issue = {2},
 journal = {上越教育大学研究紀要},
 month = {Mar},
 note = {「二十六夜」の結末に、賢治が信奉した『法華経』の教えとは異なる浄土教的色彩を見ようとする読み方がある。本論文では、「二十六夜」の浄土教的色彩の是非を検討し、むしろ＜法華文学>として読みうる可能性があることを指摘したうえで、日蓮宗と浄土宗が同じ仏教として重なりをもつ部分、すなわち業感をふまえ衆生に救いをもたらそうとする部分において共通する要素を賢治は作品化しようとしたと述べた。「二十六夜」に示されるのは、題目と念仏がともに祈念する救いの世界へ目をそそぐ、慈悲のまなざしのありようである。さらに、死にいたる穂吉の思いを語りえない語り手について言及し、人間が立ち入ることのできない世界の存在が語り手につつましやかな受動性を与えていると述べた。, In conclusion of Nijurokuya, there is a reading which is going to look at different Jodokyo-color from the instruction of the "Lotus Sutra" in which Kenji believed. This paper examined the right or wrong of the Jodokyo-color of Nijurokuya, and on the other hand it pointed out that it is the possibility of being able to read as "Lotus Sutra Literature", and then it pointed out that Kenji tried to insist the element which is common in the portion in which the Nichiren sect and the Jodo sect have a overlap as the same Buddhism. The matter which is shown in Nijurokuya is the look of the mercy which pours the eye to the world of rescue which the Nichiren sect and the Jodo sect pray together. Furthermore, after referring to the storyteller who cannot talk about the feeling immediately before Hokichi's death, it is pointed out that the existence of the world where the human cannot enter has given a calm passive characteristic to the storyteller.},
 pages = {856--866},
 title = {宮澤賢治「二十六夜」論 : <穂吉の昇天><音の問題>について},
 volume = {24},
 year = {2005},
 yomi = {オノ, ユウジ}
}