- 著者
- 古田 明子
- 出版者
- 神戸女学院大学
- 雑誌
- 女性学評論 (ISSN:09136630)
- 巻号頁・発行日
- vol.14, pp.201-224, 2000-03-31
The TV animation Sailor Moon,broadcast from 1992 to 1997,won an unusual popularity among the young female audience in Japan at that time. This study is an attempt to clarify an implicit message theanimation conveys to the audience under the disguise of a childish story of love, peace and justice by examining the underlying structure each episode of the animation has. A TV animation which repeats practically the same story every week is a very effective cultural apparatus but hasbeen seldom studied in detail. Each episode generally follows the pattern of a typical initiation story: the heroine undergoes a process of maturity through the experienceof symbolic death and rebirth. But the story at the same time cleverly escapes from such an interpretation. What is characteristic with the story is that the initiation process is definitely related to consumer behavior: endless pursuit of commercial goods. And in this sense the heroine never accomplishes the initiation and this incompleteness or failure in initiation indeed places Sailor Moon in a unique position in the lineage of popularlegends. We see many other examples of such incompleteness. The heroine's metamorphosis itself betrays this. For what she puts on after taking off her girlish clothes is, unlike a traditional heroine, a "sailor suit", the symbol of eternal girlishness which accompanies an implication of commercialized sexuality. In the last episode,the heroine discloses her naked body of a matured woman before she becomes the savior of the world. Seemingly she finally attains motherhood and succeeds in showing a role model to the young audience but only to turn out to be a false one. Forher final purpose remains to be to reproduce her duplicates: ideal consumersof the consumption society. It is at that moment that a "Girl" throws off the mask of "Lovely One" and exposes her true face of"Woman".
- 著者
- 古田 明子
- 出版者
- 神戸女学院大学
- 雑誌
- 女性学評論 (ISSN:09136630)
- 巻号頁・発行日
- vol.14, pp.201-224, 2000-03-31
The TV animation Sailor Moon,broadcast from 1992 to 1997,won an unusual popularity among the young female audience in Japan at that time. This study is an attempt to clarify an implicit message theanimation conveys to the audience under the disguise of a childish story of love, peace and justice by examining the underlying structure each episode of the animation has. A TV animation which repeats practically the same story every week is a very effective cultural apparatus but hasbeen seldom studied in detail. Each episode generally follows the pattern of a typical initiation story: the heroine undergoes a process of maturity through the experienceof symbolic death and rebirth. But the story at the same time cleverly escapes from such an interpretation. What is characteristic with the story is that the initiation process is definitely related to consumer behavior: endless pursuit of commercial goods. And in this sense the heroine never accomplishes the initiation and this incompleteness or failure in initiation indeed places Sailor Moon in a unique position in the lineage of popularlegends. We see many other examples of such incompleteness. The heroine's metamorphosis itself betrays this. For what she puts on after taking off her girlish clothes is, unlike a traditional heroine, a "sailor suit", the symbol of eternal girlishness which accompanies an implication of commercialized sexuality. In the last episode,the heroine discloses her naked body of a matured woman before she becomes the savior of the world. Seemingly she finally attains motherhood and succeeds in showing a role model to the young audience but only to turn out to be a false one. Forher final purpose remains to be to reproduce her duplicates: ideal consumersof the consumption society. It is at that moment that a "Girl" throws off the mask of "Lovely One" and exposes her true face of"Woman".
- 著者
- 井手 洋一 古田 明子
- 出版者
- 日本植物病理学会
- 雑誌
- 日本植物病理学会報 (ISSN:00319473)
- 巻号頁・発行日
- vol.89, no.1, pp.1-8, 2023-02-25 (Released:2023-03-08)
- 参考文献数
- 38
タマネギべと病の薬剤防除の精度向上を目的として,ブームスプレーヤの噴霧高さが薬液付着や防除効果に及ぼす影響について検討した.葉先の30 cm上方から散布した場合の薬液付着は,葉身中央部,葉身抽出部ともに良好であったが,葉先とほぼ同じ高さから散布した場合は,葉身中央部付近の薬液付着が劣った.また,べと病に対する防除効果も葉先とほぼ同じ高さから散布した場合は劣った.今後は,本試験で得られた噴霧高さと薬液付着,べと病に対する防除効果の関係性をもとに,適切な薬剤散布技術に関する指導を行う必要がある.
- 著者
- 古田 明子 Akiko FURUTA
- 雑誌
- 女性学評論 = Women's studies forum
- 巻号頁・発行日
- vol.14, pp.201-224, 2000-03-31
The TV animation Sailor Moon,broadcast from 1992 to 1997,won an unusual popularity among the young female audience in Japan at that time. This study is an attempt to clarify an implicit message theanimation conveys to the audience under the disguise of a childish story of love, peace and justice by examining the underlying structure each episode of the animation has. A TV animation which repeats practically the same story every week is a very effective cultural apparatus but hasbeen seldom studied in detail. Each episode generally follows the pattern of a typical initiation story: the heroine undergoes a process of maturity through the experienceof symbolic death and rebirth. But the story at the same time cleverly escapes from such an interpretation. What is characteristic with the story is that the initiation process is definitely related to consumer behavior: endless pursuit of commercial goods. And in this sense the heroine never accomplishes the initiation and this incompleteness or failure in initiation indeed places Sailor Moon in a unique position in the lineage of popularlegends. We see many other examples of such incompleteness. The heroine's metamorphosis itself betrays this. For what she puts on after taking off her girlish clothes is, unlike a traditional heroine, a "sailor suit", the symbol of eternal girlishness which accompanies an implication of commercialized sexuality. In the last episode,the heroine discloses her naked body of a matured woman before she becomes the savior of the world. Seemingly she finally attains motherhood and succeeds in showing a role model to the young audience but only to turn out to be a false one. Forher final purpose remains to be to reproduce her duplicates: ideal consumersof the consumption society. It is at that moment that a "Girl" throws off the mask of "Lovely One" and exposes her true face of"Woman".