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OKAMOTO Yoshiko
Graduate School of Intercultural Studies / Department of Culture and Globalization
Associate Professor

  • Profile

    OKAMOTO Yoshiko is lecturer in Graduate School of Intercultural Studies, Kobe University, Japan. She received her M.A in 2010 and Ph.D in 2014 from the University of Tokyo, and her doctoral thesis is on Bartók’s Duke Bluebeard’s Castle. Her main interest is in Bartók’s stage works and their relationship to literature. From 2011 to 2012, she received support from the Hungarian Scholarship Board and carried out research at the Budapest Bartók Archives, Institute for Musicology of the Hungarian Academy of Sciences.

Researcher basic information

■ Research Keyword
  • ルカーチ
  • Theatre
  • Theatre Arts
  • Musicology
  • Opera
  • Balázs
  • Bartók
  • Hungary
■ Research Areas
  • Humanities & social sciences / Literature - European
  • Humanities & social sciences / Aesthetics and art studies
  • Humanities & social sciences / Aesthetic practices
  • Humanities & social sciences / Aesthetics and art studies

Research activity information

■ Paper
  • 佳子 岡本, 裕美子 坂部, 喜重子 神竹, 雄介 荒又, 昌宏 辻, 文恵 大河内, 恵美子 平野, かつら 小石
    Lead, Nov. 2023, デジタルアーカイブ学会誌, 7(4) (4), e39 - e44, Japanese
    [Refereed]
    Scientific journal
    Link to Kobe Univ. Repository (Kernel)

  • Yoshiko Okamoto
    Béla Bartók’s “On Hungarian Music,” one of his controversial articles published in 1911, is known for criticizing Géza Molnár’s book, Theory of Hungarian Music (1904). However, it has not been mentioned that Molnár himself replied to Bartók’s article in the next volume of Aurora [Dawn] magazine, using exactly the same title as Bartók’s. While Bartók asserted that true Hungarian music had never existed before, Molnár, a musicologist in Budapest, bitterly criticized Bartók’s assertions from an academic perspective. This controversy over Hungarian music published in Aurora seemed quite crucial for understanding and relativizing Bartók’s position at that time. The historian Mary Gluck explained that several intellectuals, including György Lukács and Béla Balázs, had to depend on the older generation, both financially and philosophically, during that period. Using Gluck’s framework, this paper examines the genesis of Bartók’s article and the connection between him and the intellectuals in 1911, as well as to interpret this controversy. In conclusion, the controversy with Molnár, and plausible “defeat” in the field of musicology could be added to his list of challenges and setbacks before 1912, the year that saw Bartók’s temporal exit from public musical life.
    Jun. 2017, Studia Musicologica, 58(2) (2), 129 - 146, English
    [Refereed]
    Scientific journal

  • Discussion on Marionette and Dance by Bela Balazs : A Focus on Plays (1917) and Dramaturgy (1918)
    岡本 佳子
    日本スラヴ学研究会, Mar. 2017, スラヴ学論集, 20(20) (20), 159 - 175, Japanese
    [Refereed]
    Scientific journal

  • 戦間期ウィーンのバラージュが見たハンガリー文学の「亡命」
    岡本 佳子
    Mar. 2016, れにくさ, (6) (6), 298 - 310, Japanese
    Scientific journal

  • 岡本 佳子
    Mar. 2015, 福田宏、池田あいの編著『国民音楽の比較研究に向けて――音楽から地域を読み解く試み』（CIAS Discussion Paper No. 49）, 65 - 70, Japanese
    Symposium

  • Yoshiko Okamoto
    Béla Balázs, the librettist of Béla Bartók's Bluebeard's Castle and Wooden Prince, wrote many remarks about Bartók in his recollections throughout his life, and their manuscripts are preserved in Budapest, in the Library of the Hungarian Academy of Sciences and National Széchényi Library. Some parts of these texts, however, still remain unpublished. Even though his reminiscence tends to exaggerate their friendship, which in fact ended in their earliest period in Budapest, examination of the sources provides us with a new understanding of the relationship between the librettist and the composer. Therefore, this paper introduces the documents written by Balázs, gives a selective overview of their friendship, and examines how the image of Bartók changed in Balázs's mind over time.
    Akademiai Kiado Rt., Dec. 2014, Hungarian Studies, 28(2) (2), 211 - 234, English
    [Refereed]
    Scientific journal

  • 神秘劇をオペラ座へーーバルトークとバラージュの共同作品としての『青ひげ公の城』
    岡本 佳子
    2014, 東京大学大学院
    Doctoral thesis

  • Theory as Self-Reflection of Theater Practices : Lukacs' The History of the Development of Modern Drama as it Relates to Thalia Society
    岡本 佳子
    東京大学大学院総合文化研究科超域文化科学専攻, Nov. 2013, 超域文化科学紀要, (18) (18), 191 - 206, Japanese
    [Refereed]

  • The Creation of Bela Balazs Bluebeard's Castle : On a Relation with Mystery Plays
    岡本 佳子
    東欧史研究会, Mar. 2012, 東欧史研究, (34) (34), 3 - 24, Japanese
    [Refereed]

■ Books And Other Publications
  • 小学館世界J文学館
    浅井 次郎, 角野 栄子, 金原 瑞人, さくま ゆみこ, 沼野 充義
    Joint translation, バラージュ・ベーラ「ほんとうの空色」, 小学館, Nov. 2022, ISBN: 4092893078

  • 中欧・東欧文化事典
    中欧・東欧文化事典編集委員会, 羽場 久美子, 井口 壽乃, 大津留 厚, 桑名 映子, 田口 雅弘, 中澤 達哉, 長與 進, 三谷 恵子, 山崎 信一
    Contributor, バラージュとモーリツ; アディ・エンドレ, 丸善出版, Sep. 2021, Japanese, ISBN: 9784621306161

  • オペラ/音楽劇研究の現在 : 創造と伝播のダイナミズム
    佐藤 英, 大西 由紀, 岡本 佳子
    Joint editor, 「完成された個性――《木彫りの王子》における「人形」の役割」, 水声社, Mar. 2021, Japanese, ISBN: 9784801005556

  • 그들의 진로는 달랐다 :변화의 시대를 살아가는 13가지 삶의 방식
    標葉 靖子, 岡本 佳子, 中村 優希, 김지윤
    Joint editor, 디 이니셔티브, Oct. 2020, 『東大キャリア教室で1年生に伝えている大切なこと：変化を生きる13の流儀』韓国語版, ISBN: 9791196848446

  • 神秘劇をオペラ座へ―バルトークとバラージュの共同作品としての《青ひげ公の城》
    岡本 佳子
    Single work, 松籟社, Jul. 2019, Japanese, ISBN: 9784879843807

  • 東大キャリア教室で1年生に伝えている大切なこと: 変化を生きる13の流儀
    標葉 靖子, 岡本 佳子, 中村 優希
    Joint editor, 東京大学出版会, Mar. 2019, Japanese, ISBN: 4130530917

  • "Háry János" : suite for large orchestra
    コダーイ・ゾルターン, 岡本佳子(解説)
    Others, 解説, 全音楽譜出版社, Feb. 2018, ISBN: 4118909715

  • キーワードで読む オペラ/音楽劇 研究ハンドブック
    丸本 隆, 荻野 静男, 佐藤 英, 佐和田 敬司, 添田 里子, 長谷川 悦朗, 東 晴美, 森 佳子
    Contributor, ナショナリズム（中東欧）、チェコ、ハンガリー, アルテスパブリッシング, Apr. 2017, Japanese, ISBN: 4865591583

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