@article{oai:minpaku.repo.nii.ac.jp:00004816,
 author = {福岡, まどか and Fukuoka, Madoka},
 issue = {2},
 journal = {国立民族学博物館研究報告, Bulletin of the National Museum of Ethnology},
 month = {Nov},
 note = {The Indian epic poem the Ramayana has become widespread throughout
many regions of Southeast Asia, being adopted as the main theme in various
performing art forms such as theatre, dance drama, and mask dance up
to the present day. In Indonesia, the art forms include wayang kulit (shadow
puppets), wayang golek (rod puppets) and sendratari (dance drama).
This study takes up the subject of the Ramayana epic poem in Indonesian
comic works, indicating their characteristic structures and plots. Among
the Indonesian comic books, the works of R. A. Kosasih (1919–2012) are
the best-known and most successful. His comic style is called komik wayang
because of its close relationship to wayang theatre. Kosasih adopted many
episodes from the wayang tradition, but dealt with them in his own way. He
intentionally changed the episodes and developed his own adaptation of the
Ramayana tale. In the process he created a new version that is not peculiar to
any specific region such as Java, Sunda or Bali. Through the production of
comic books, Kosasih succeeded in presenting the entire plot of Ramayana
in a unique manner., この研究はインドネシアのコミックにおける叙事詩ラーマーヤナを取り上げ
てその特徴を考察するものである。叙事詩ラーマーヤナは東南アジアに広く
普及し，書承による伝承にとどまらず多くの上演芸術のジャンルにおいても主
要な題材となってきた。この論考ではインドネシアにおいて1950年代以降に
出版されたコサシ（R. A. Kosasih 1919–2012）によるコミック・ワヤン（komik
wayang「ワヤン風のコミック」の意）と呼ばれるコミックを取り上げる。この
コミックは魅力的な画像とともにインドネシア語の地語りとセリフのテクスト
を用いている。ラーマーヤナを描いた作品には作者コサシの改変や創作による
独自の内容が見られる。コサシの作品は特定の地域的な枠組みを越えた多くの
人々にラーマーヤナの全体像を提示したという点において重要なメディアの一
つとして位置づけられる。},
 pages = {349--367},
 title = {Reinterpretation of the Ramayana in Indonesia : A Consideration of the Comic Works of R. A. Kosasih},
 volume = {40},
 year = {2015},
 yomi = {フクオカ, マドカ}
}