『大衆文化』 既刊号目次
創刊準備号（二〇〇八年三月）［口絵］乱歩/喧騒の車町時代（昭和八～九年）
創刊の辞 ··································································· 藤井淑禎
庶民モラルとしての「任侠」とは何か―佐藤忠男『長谷川伸論―義理人情とは何か―』をめぐって―·············································································· 筒井清忠 ···························· 1
市川昆の「こころ」 ························································· 藤井淑禎 ····························9
舞台劇『放浪記』をめぐって－テクスト＜林芙美子＞の行方― ······ 羽矢みずき ························ 18
雲を凌ぐ―「押絵と旅する男」と浅草十二階― ························· 丹羽みさと ························ 30
大衆娯楽雑誌『平凡』と評論家大宅壮一―ふたつの研究から見えてくるもの―·············································································· 阪本博志 ·························· 39
中国における日本の大衆文化研究の現状と展望 ····················· 王 成 ······························ 45
江戸サブカル紀行―八百屋お七と岡山― ·····································渡辺憲司 ·························· 57
翻刻 二銭銅貨 ··························································· 落合教幸・藤井淑禎 ············· 63
編集後記 ··································································· 石川 巧 ··························· 70

創刊号（二〇〇九年四月）［口絵］張ホテルの乱歩／郊外への第一歩（昭和九年）［巻頭エッセイ］「二十面相」世代の乱歩観 ······························ 紀田順一郎
ネ ク ロ ポ リス

酸素カフェテリアと死者の町―大衆情報消費社会における酸素マスク表象―·············································································· 原

克 ······························ 1

乱歩と大東京 ······························································ 藤井淑禎 ···························11「九州演劇」とその時代 ··················································· 石川 巧 ··························· 21
日本におけるルバーシカ着用の起源をめぐって ······················· 小林 実 ··························· 37
昭和十四年、「犯人」形成の新たな試み―江戸川乱歩「暗黒星」論― ····落合教幸 ·························· 53
韓国における論介と春香の受容 ········································· 岩谷めぐみ ························ 63
天満天神繁昌亭の成立と展開 ·········································· 恩田雅和 ·························· 75
歌舞伎としての乱歩―小説『人間豹』から歌舞伎『江戸宵闇妖鉤爪』へ― 松本和也 ·························· 83
韓国における日本大衆文化の受容について ··························· 金 惠珍 ··························· 95
編集後記 ··································································· 石川 巧 ·························· 117

第二号（二〇〇九年九月）［口絵］作家専業へ／「D 坂の殺人事件」(大正十三年)

翻刻 「D 坂の殺人事件」草稿 ··········································· 落合教幸 ····························2「依頼型」から「巻き込まれ型」へ―江戸川乱歩「D 坂の殺人事件」草稿覚書―························································································ 落合教幸 ·························· 37

校門の外をめざした学校唱歌―卒業式による広報戦略― ·················有本真紀 ·························· 44「月の沙漠」の系譜学―流行歌とアラビア表象― ························· 舌津智之 ·························· 59
貸本屋と読書サークルの時代―吉川英治『宮本武蔵』と大衆読者― ·····藤井淑禎 ·························· 69
オバマ報道を考える ······················································ 黄 盛彬 ··························· 79
戦後台湾における日本大衆文化の受容―アイデンティティの構築と脱構築―························································································ 林 鴻亦 ··························· 89「九州演劇」総目次 ························································ 石川 巧 ·························· 101
編集後記 ··································································· 藤井淑禎 ························· 112

第三号（二〇一〇年四月）［口絵］中日・美男子カタログ
中国の芝居の文系男子問題 ············································· 細井尚子 ····························2
メディアミクス文化史のなかの江戸川乱歩と横溝正史 ··············· 江藤茂博 ·························· 20
映画のなかのカメラ ······················································· 三浦雅弘 ·························· 32
俳諧大衆化の二方向―形式の縮小化と数量の拡大化― ···················加藤定彦 ·························· 40
大宅壮一の文化大革命レポート ········································· 藤井淑禎 ·························· 53
ワルキューレはさまよう ··················································· 平山城児 ·························· 66
見るものと見られるものをめぐって―結城座『乱歩・白昼夢』― ···········後藤隆基 ·························· 71
翻刻「人間椅子」草稿 ····················································· 落合教幸 ·························· 76
編集後記 ··································································· 藤井淑禎 ·························· 85

第四号（二〇一〇年九月）
じ せ い ま は り どうろう

［口絵］明治戯作の世界―「『時勢走馬 燈 ―名 親父肝潰誌』という書物」より―
大衆メディア史を反射する「鏡の女」―女優・ひし美ゆり子の足跡― ·····樋口尚文 ····························2
嬰殺旗本探偵実話 断ち切られたものたちの闇 ······················· 浜田雄介 ·························· 12
窯変・橋本治―告白― ····················································· 後藤和彦 ·························· 24「男女共同参画社会」をめぐる一考察―「第三次男女共同参画基本計画」策定の年にあたって―·············································································· 近藤 弘 ··························· 37『風と共に去りぬ』と戦後日本人 ········································· 藤井淑禎 ·························· 46
じ せ い ま は り どうろう

『時勢走馬 燈 一名 親父肝潰誌』という書物 ························· 池田一彦 ·························· 61『明烏後正夢』における説経祭文の受容―人情本と大衆芸能― ·········坂口香惠 ·························· 73

編集後記 ··································································· 藤井淑禎 ·························· 81

第五号（二〇一一年四月）［口絵］ベル・エポックの自動車文学
パノラマ文化史管見―『パノラマ島奇談』の余白に― ························副島博彦 ····························2
ルパン誕生前のルブラン―スピードの魅惑― ································坂本浩也 ·························· 10
漢字と日本語・日本語教育··············································· 沖森卓也 ·························· 21
大衆作家が描いた＜安保＞―石坂洋次郎『あいつと私』と舟橋聖一『エネルギイ』························································································ 藤井淑禎 ·························· 35
いま

円朝の現在 ································································ 宮 信明 ··························· 49
砂書房版『松本清張研究』奮闘記 ······································· 田中伸和 ·························· 60
翻刻「活動写真のトリツクを論ず。」 ····································· 落合教幸 ·························· 69
編集後記 ··································································· 藤井淑禎 ·························· 88

第六号（二〇一一年九月）［口絵］漱石と鎌倉―「紅が谷の青い空・再説」より―飄亭、不折、子規と三陸大津波―「海嘯」十四句をめぐって― ··········加藤定彦 ····························2
べにやつ

紅が谷の青い空・再説―『行人』『心』、二つの鎌倉 ···················· 藤井淑禎 ·························· 10
オペラへの迷い言 ························································· 守屋省吾 ·························· 28
占領期の大宅壮一をめぐる「点と線」 ··································· 阪本博志 ·························· 36
大正期における『歌舞伎新報』の復活 ··································· 後藤隆基 ·························· 43
翻刻「映画論」 ····························································· 落合教幸 ·························· 57
編集後記 ··································································· 藤井淑禎 ·························· 69

第七号（二〇一二年四月）［口絵］熊谷市冑山の根岸家住宅長屋門
原発建設時代の日本のＳＦアニメ ······································· 秦 剛 ································2
熊谷市冑山に残る歴史遺産―根岸家住宅長屋門について― ·············横山晋一 ···························11
三島由紀夫 vs．増村保造―映画「からっ風野郎」とその後の三島の身体イメージをめぐって―························································································ 安 智史 ··························· 19

映画『男はつらいよ』にみる活版印刷 ··································· 滝口富夫 ·························· 33『女の一生』はなぜ『人形の家』に勝てたのか ··························· 藤井淑禎 ·························· 44
俵藤丈夫編集長下の『歌舞伎新報』 ···································· 後藤隆基 ·························· 62

サイレント映画脚本の周辺 ··············································· 若井尚子 ·························· 78
翻刻「トリック写真の研究」 ··············································· 落合教幸 ·························· 88
編集後記 ··································································· 藤井淑禎 ························· 131

第八号（二〇一三年一月）［口絵］江戸川乱歩 色紙
映像メディアの力―中国における清張ミステリーの受容― ················ 王 成 ································2
スキャンダルの両義性―明治の女学生バッシングから「新しい女」へ ····· 岡田章子 ·························· 12
川上音二郎と竹越與三郎 ················································ 後藤隆基 ·························· 21
囚われない三三―「柳家三三で北村薫。」評― ···························· 大塩竜也 ·························· 34
翻刻「死」 ··································································· 落合教幸 ·························· 43
編集後記 ··································································· 落合教幸 ·························· 59

第九号（二〇一三年九月）［口絵］大衆文化九号 資料＜文壇作家＞時代の松本清張・Ⅰ―「多芸は無芸」の危うさのなかで― 藤井淑禎 ····························2『ソヴェト文化』総目次 ···················································· 吉田則昭 ·························· 16
二代目団十郎と江戸の開帳興行―不動明王を中心に ·················· ビュールク・トーヴェ ·············· 30
亀井勝一郎「読書の態度と実際」(一九四二年)－翻刻と解題― ···· 赤堀杏奈 ·························· 49
江戸川乱歩『心理試験』の精神分析―典拠から技法へ、すなわちユングからラカンへ―·············································································· 中原雅人 ·························· 62
翻刻「踊る一寸法師」草稿 ················································ 落合教幸 ·························· 76
編集後記 ··································································· 落合教幸 ·························· 83

第十号（二〇一四年三月）［口絵］母校・大阪府立茨木高等学校の創立七〇周年記念講演会での大宅壮一
日本人の蔵書志向と江戸川乱歩 ········································ 紀田順一郎 ·························2
ポンスから二十面相へ―蒐集家としての怪盗の肖像― ·····················菅谷憲興 ····························9
夏目漱石『門』の御米について··········································· 藤井淑禎 ·························· 20＜老い＞の中の獅子文六／岩田豊雄―『可否道』「出る幕」― ···········米山大樹 ·························· 31
中学生時代の大宅壮一―時事新報社発行の雑誌『少年』への投稿活動と学業成績―·············································································· 阪本博志 ·························· 44
江戸川乱歩・野村胡堂往復書簡―黒岩涙香本をめぐって― ············ 丹羽みさと ························ 60

井上良夫宛江戸川乱歩書簡············································· 落合教幸 ·························· 88
編集後記 ··································································· 落合教幸 ························ 104

第十一号（二〇一四年九月）［口絵］江戸川乱歩旧蔵書より、フィルポッツ、井上良夫関連図書
啄木短歌における大衆性について― ··································· 太田 登 ·····························2
吉永小百合主演映画とベテラン俳優宇野重吉の役割―「愛と死をみつめて」(昭和三九)の場合を中心として·············································································· 藤井淑禎 ·························· 12
戦後日本における海外短波放送のリスナー···························· 井川充雄 ·························· 21
文学の中の「骨相学」―夢野久作『ドグラ・マグラ』から ···················· 鈴木優作 ·························· 32
沖野岩三郎の＜実話もの童話＞········································ 六川綾夏 ·························· 40『貼雑年譜』に見る江戸川乱歩と山手樹一郎の交流 ·················· 影山 亮 ··························· 49
井上良夫宛江戸川乱歩書簡（2） ········································ 落合教幸 ·························· 59
編集後記 ··································································· 落合教幸 ·························· 80

第十二号（二〇一五年三月）［口絵］旧小中野遊郭の新むつ旅館（新陸奥楼） ······················· 渡辺憲司
職業作家・松本清張の出発―全集未収録小説「女に憑かれた男」、「渓流」を読む―························································································ 石川 巧 ····························· 2

日本統治時代の台湾におけるラジオ体操 ······························ 井川充雄 ·························· 21
松本清張と「連環画」との遭遇―イメージの増殖と変容― ··············· 尹 芷汐 ··························· 35「蛇性の婬」における雄黄について ······································ 相馬真理子 ······················· 51
旧制茨木中学校における一九二〇年のストライキと大宅壮一 ······· 阪本博志 ·························· 61
翻刻「恐ろしき錯誤」草稿················································· 落合教幸 ·························· 83
編集後記 ··································································· 落合教幸 ························· 111

第十三号（二〇一五年九月）［口絵］戦後池袋
乱歩邸の旧所有者坂一族について ····································· 藤井淑禎 ····························2
巨大ターミナル池袋の変遷とゆくえ ····································· 古田土紗季 ·························9
戦後池袋演劇史―アバンギャルドと池袋文化劇場―······················ 後藤隆基 ·························· 31
昭和二十年、罹災直後の数通の手紙―江戸川乱歩の空襲体験― ····· 落合教幸 ·························· 51
編集後記 ··································································· 落合教幸 ·························· 77

第十四号（二〇一六年三月）［口絵］戦後池袋 ヤミ市から自由文化都市へ「戦後池袋―ヤミ市から自由文化都市へ―」展示企画展報告 ··········· 石川 巧 ·····························２「不滅の江戸川乱歩展」報告 ············································· 北村一男 ·························· 21
秋の収蔵資料展「池袋ヤミ市と戦後の復興」について ················ 横山恵美 ·························· 25「池袋＝自由文化都市プロジェクト」における立教学院展示館の展示について·············································································· 豊田雅幸 ·························· 31
池袋の戦後史をめぐる＜場＞とにぎわいの創出―「池袋=自由文化都市プロジェクト」にみる大学の地域連携の道筋― ····· 後藤隆基 ·························· 45

旧江戸川乱歩邸特別公開―《池袋＝自由文化都市プロジェクト》― ····· 落合教幸 ·························· 57
鏡地獄―江戸川乱歩「鏡地獄」戦後改稿版― ······························ 落合教幸 ·························· 61
編集後記 ··································································· 落合教幸 ·························· 89

第十五号（二〇一六年十二月）［口絵］江戸川乱歩の創作ノート（昭和三十年）
戦後池袋の娯楽文化とロサ会館 ········································ 伊部知顕 ····························2
都市における地域学としての「池袋学」の可能性（一）―立教大学と東京芸術劇場による地域連携の実践―························································································ 後藤隆基 ·························· 17

飢えと混乱を生きること―梅崎春生「飢えの季節」論―··················· 渡部裕太 ·························· 35
江戸川乱歩の創作ノート（昭和三十年）―「化人幻戯」「影男」「月と手袋」『十字路』と少年探偵―························································································ 落合教幸 ·························· 55

編集後記 ··································································· 落合教幸 ·························· 88

第十六号（二〇一七年三月）［口絵］二〇一六年の江戸川乱歩関連展示／仁木悦子資料【二〇一六年の江戸川乱歩関連展示】
江戸川乱歩、巴里にやって来た。 ········································ ジェラルド・プルー ··················3
異なるジャンル、共通する感覚―萩原朔太郎生誕百三十年記念・前橋文学館特別企画展 ··· 「パノラマ・ジオラマ・
グロテスク―江戸川乱歩と萩原朔太郎」を開催して― ·························· 津島千絵 ···························· 9

特別展「ビブリア古書堂の事件手帖」を開催して ······················ 小田島一弘 ······················· 16「日本ミステリー文学展～藤田宜永からの招待状～」を振り返って 尾崎秀甫 ·························· 20
解放後の韓国における大衆芸能に関する一考察―薬売り・パルタル・女性芸能団体の再評価―·············································································· 神野知恵 ·························· 25
カルチュラル・アサイラム―中国インディペンデント・ドキュメンタリーの透明な砦―

·············································································· 秋山珠子 ·························· 37
大正末期から昭和初期における探偵小説と演劇の交差―江戸川乱歩宛長谷川伸書簡群を視座として―·············································································· 後藤隆基 ·························· 53
仁木悦子・江戸川乱歩書簡 ·············································· 落合教幸 ·························· 97
編集後記 ··································································· 落合教幸 ························· 112

第十七号（二〇一八年一月）『高見順全集』未収録小説・「眞砂子」の紹介・解題 ···················· 松本和也 ····························2
江戸川乱歩 未発表小説草稿「ダアヰン氏小瘤」翻刻および解題 ··· 落合教幸 ·························· 19
華人文化圏に広がる新劇―オスカー・ワイルド『ウィンダミア夫人の扇』を例に―·············································································· 鈴木直子 ·························· 35
江戸川乱歩自筆稿本『家蔵同性愛関係書』目録 1―日本之部― ···· 丹羽みさと ························ 43
編集後記 ··································································· （N） ································ 83

第十八号（二〇一八年三月）＜天才＞と＜犯罪者＞のあいだ―大正期谷崎作品の人物造型をめぐって―·············································································· 金子明雄 ····························2
一九五〇年代における雑誌『明星』の連載小説とそのメディアタイアップ展開（付・一九五〇年代『明星』連載小説一覧） ····························· 阪本博志 ·························· 17
遠藤周作の新発見資料「アフリカの體臭」について ··················· 杉本佳奈 ·························· 37
江戸川乱歩自筆稿本『家蔵同性愛関係』目録 2―和本目録、洋書目録、西洋に関するもの、東洋に関するもの― ··· 丹羽みさと ························ 47
編集後記 ··································································· （N） ································ 69

第十九号（二〇一八年十月）
近世の俗文芸と「お竹大日」伝承―文化文政期を中心に― ············· 神林尚子 ····························2
日本統治下台湾における時差撤廃とラジオ ···························· 井川充雄 ·························· 19
戦時下の北京における出版物取締と雑誌『月刊毎日』 ················ 石川 巧 ··························· 33
まなざしへの抵抗―岡崎京子『ヘルタースケルター』論― ············ 村松まりあ ························ 53「ナイフ」の向かう先―江戸川乱歩「人間椅子」試論― ···················· 入山洸希 ·························· 77『＜ヤミ市＞文化論』書評―眩しい都市― ····························· 川崎賢子 ·························· 93
パネル発表「江戸川乱歩所蔵資料の活用による探偵小説研究」の発表報告 ····························· 97
編集後記 ··································································· （K） ······························· 101

第二十号（二〇一九年三月）
豊子愷の「詩画」意識と「黒画」批判 ··································· 南雲大悟 ······························2
演歌は「演じる歌」か？―近代日本における大衆音楽と上演文化のミッシング・リンク―············································································ 輪島裕介 ···························· 19「黒蜥蜴」の表象をめぐって―江戸川乱歩『黒蜥蜴』論― ·············· 海老澤彩香 ························· 40
挿絵画家としての中村研一―「海燕」「女の一生」「春の行列」「花と兵隊」―············································································ 松本和也 ···························· 56
江戸川乱歩旧蔵『古版奇術書』同梱資料―山本慶一宛・乱歩発書簡控えを中心に―············································································ 米山大樹 ···························· 75
編集後記 ································································· （N） ·································· 91

第二十一号（二〇一九年十月）
座談会「新派百三十年とその未来」
喜多村緑郎／河合雪之丞／齋藤雅文／神山 彰（司会） ····················································2
憧れを抱いて芽吹く―大石真「教室二〇五号」論― ················ 石橋 剛 ····························· 23
夢野久作の受験生時代とその交友 ··································· 川下俊文 ···························· 41
植民地朝鮮の「孤立」された作家金来成と江戸川乱歩·············· 姜 泰雄 ····························· 71
覗かれるもの／覗くもの―「押絵と旅する男」再考― ··············· 丹羽みさと··························· 85
編集後記 ································································· （N） ································· 101

第二十二号（二〇二〇年三月）
佐野史郎氏特別講演記録「乱歩と戦争」佐野史郎／細井尚子／金子明雄（司会） ························2
侍と探偵の蜜月―大衆文学ジャンルの再編成における捕物帳―········ 影山 亮 ····························· 20
新派と歌舞伎のあいだ―五代目中村芝翫の家庭小説劇をめぐって― 金子 明雄 ·························· 42
語る＜女＞と語られる＜女たち＞―永井荷風『つゆのあとさき』における語り論―············································································ 金田みか ···························· 58
ハイジンの行方―江戸川乱歩「二癈人」論― ···························· 出口 歩 ····························· 76
旅立つ「兄」―江戸川乱歩「押絵と旅する男」論―························ 横田 遼 ····························· 93
翻刻「経済学と心理学との関係を論ず。」····························· 松本陸杜 ··························· 113
編集後記 ································································· （N） ································ 130

第二十三号（二〇二〇年九月）
艶めかしき怪談―江戸川乱歩「人でなしの恋」論(上)―················· 石川 巧 ·······························2

江戸川乱歩「孤島の鬼」の着想を巡って ······························ 小松史生子 ························· 20
岸田國士「かへらじと」を読む―移動演劇の作劇術― ················· 松本和也 ···························· 37「Ｐｉｎｋ」から『ｐｉｎｋ』へ―岡崎京子『ｐｉｎｋ』論― ························ 村松まりあ··························· 55
編集後記 ································································· （N） ·································· 70

第二十四号（二〇二一年三月）
艶めかしき怪談―江戸川乱歩「人でなしの恋」論(下)―················· 石川 巧 ·······························2
犯罪・活動写真・探偵小説―ジゴマ騒動と犯罪フィクションをめぐる言説の再配置―············································································ 井川 理 ····························· 18
撞着する思想と形式―夢野久作『ドグラ・マグラ』を中心として― ········ 松田祥平 ···························· 37
占領下の時代小説ジャンルにおける＜新古交代＞言説 ············ 影山 亮 ····························· 52
不可視化される占領と強調される戦争体験の残存性―野間宏『崩解感覚』論― ·········································································································· 秀島希望 ···························· 72
江戸川乱歩旧蔵資料にみる探偵作家クラブの出発―「レヴュー殺人事件」脚本と乱歩直筆原案を調査する―············································································ 米山大樹 ···························· 88
編集後記 ································································· （N） ································· 112

第二十五号（二〇二一年九月）
インプレッショニズム

ポ ス ト ・ インプレショニズム

明治末年における西洋美術受容・再考―言説上の 印 象 派 ・後期 印 象 派 ―········································································· 松本和也 ···························· 2
レジス・メサックの博士論文とヴァルター・ベンヤミン―探偵小説の起源をめぐって―········································································· 槙野佳奈子 ························ 20
占領を解かれた「宮本武蔵」―新国劇版ラジオドラマを読む（一） ······ 石川 巧 ··························· 34
戦後の宝塚歌劇―植田紳爾の仕事から見る― ························ 王 楽水 ··························· 52
境界としての「からだ」―井上ひさし『シャンハイムーン』論― ··········· 牛 路遥 ···························· 71
編集後記 ································································· 川崎賢子 ···························· 87

第二十六号（二〇二二年三月）
占領を解かれた「宮本武蔵」―新国劇版ラジオドラマを読む（二） 承前············································································ 石川 巧 ·······························2
江戸川乱歩「屋根裏の散歩者」完成地における信仰の様態―三重県亀山市関町岩屋観音をめぐって－············································································ 宮本和歌子 ························· 17
童謡はなぜ＜怖い＞のか―言説の背景とその機能について― ········ 井手口彰典 ························· 32

影山三郎とアジア―東京帝国大学在学時と立教大学在職時をつなぐもの―············································································ 阪本博志 ···························· 51『新青年』研究後悔記 ··················································· 浜田雄介 ···························· 66
勉誠出版『江戸川乱歩大事典』書評―江戸川乱歩研究の基盤構築― 宮本和歌子 ························· 88
翻刻「恐ろしき錯誤プロット」 ··········································· 塩井祥子 ···························· 93
江戸川乱歩の土蔵内洋書目録―蔵書印のある書籍を中心に― ······ 宮本祐希 ·························· 126
編集後記 ································································· 井川充雄 ·························· 127

第二十七号（二〇二二年九月）
江戸川乱歩「お化人形」に描かれた神戸······························ 宮本 和歌子··························2
占領を解かれた「宮本武蔵」―新国劇版ラジオドラマを読む（三） 承前―············································································ 石川 巧 ····························· 21＜枠組み＞の崩壊―井上ひさしコントの世界― ·························· 牛 路遥 ····························· 41
コロナ禍下における堂本光一と『Endless SHOCK』の軌跡····· 後藤隆基 ···························· 58
江戸川乱歩とコナン・ドイルの『シャーロック・ホームズ』―乱歩による翻訳と論文を中心に―············································································ 余 玟欣 ····························· 78［書評］雑誌文化研究会と『大宅壮一文庫解体新書』 ················ 阪本博志 ···························· 90

編集後記 ································································· 石橋正孝 ···························· 96

第二十八号（二〇二三年三月）［インタビュー］乱歩×ハードロック＝人間椅子 ························ 和嶋慎治 ······························ 2

湖面の恋、湖底の泥―江戸川乱歩と横溝正史、探偵作家が描く<諏訪湖>―············································································ 小松史生子 ························· 18
旅する乱歩―名張・鳥羽編― ············································ 丹羽みさと··························· 34
江戸川乱歩「屋根裏の散歩者」完成地の本尊と大阪守口からの鉄道経路―三重県亀山市関町岩屋観音をめぐって－ ······························ 宮本和歌子 ························· 49

近現代日本の水上生活者研究史からわかること―「都市民俗学」と大衆文化論の接点について············································································ 厚 香苗 ····························· 67
江戸川乱歩旧蔵伊藤晴雨述『新派劇の責場』翻刻 ·················· 後藤隆基 ···························· 85
編集後記 ································································· 野中健一 ··························· 112

第二十九号（二〇二三年九月）［インタビュー］乱歩の小説の謎を追いかける旅 ······················· 齋藤雅文 ······························ 2

江戸川乱歩「疑惑」における息子と父―井原西鶴「大晦日はあはぬ算用」を手がかりに―············································································ 宮本和歌子 ························· 17
生まれるための「物語」―萩尾望都「A-A´」論 ························· 濱下知里 ···························· 33
江戸川乱歩自筆原稿「指」翻刻と解題 ································ 王 羽萌 ····························· 53
江戸川乱歩「和本カード」目録 ········································· 丹羽みさと························· 142
編集後記 ································································· 細井尚子 ·························· 143

第三十号（二〇二四年三月）
乱歩はなぜ名張を“ふるさと”と呼んだのか―「ふるさと名張」と「わが町池袋」の出会い············································································ 秋永正人 ······························2
侵食する時間と語り―江戸川乱歩「押絵と旅する男」論― ·············· 坂下達哉 ···························· 25
江戸川乱歩と十七代目中村勘三郎の交流―乱歩旧蔵資料『わかなみ』第三号を読む············································································ 後藤隆基 ···························· 45『大衆文化』総目次(創刊準備号～第二十九号)····························································· 69
編集後記 ································································· 土居 浩 ····························· 83