@article{oai:stars.repo.nii.ac.jp:00008059,
 author = {米山, 喜晟 and Yoneyama, Yoshiaki},
 issue = {34},
 journal = {国際文化論集, INTERCULTURAL STUDIES},
 month = {Jun},
 note = {Chapter I What is the frame of the Decameron style? The frames whichunite novellas can be divided into the formal frame (a greeting to readers or an explanation of the reason for the composition) and the substantial frame (frames which are composed of some stories or dramatic situations). Decameron has both a formal frame and a substantial frame. The substantial frame of Decameron is different from those which are composed of chinese boxes. Chapter II Formerly we believed the Italiannovellas originated with Novellino. But a new edition of Novellino and of Ur-Novellino edited by A. Conte changed this view. In its introduction, A. Conte proves that Novellino was completed in its present form not in the 13th century but only in the 16th century. Therefore the Novellino we read nowwas bornunder the influences of Decameron and other important works of Novellas. Besides, after Ur-Novellino there were no more important works of novella, except Decameron, for nearly half a century. Contrarily, after Decameron severalimportant works of novellaappeared successively. The most important difference between the two works is the factthat Novellino dose not have a no substantial frame as Decameron has. Chapter III I assertthat Boccaccio invented the frame of the Decameron style for two reasons. First, inhis time there were no examples offrame in thisstyle. Secondly, he tried three times to use the former style of the frame before writing Decameron. He tried the first example A in the fourth book of Filocolo, perhaps to make the Napolitan listeners of the work participate in the story. The second example B appeared in the fifth book, as a sequence of, 1, KJ00004306787, 論文, Article},
 pages = {1--44},
 title = {デカメロン シキ ガクブチ ノ キホンテキ コウカ},
 year = {2006},
 yomi = {ヨネヤマ, ヨシアキ}
}