著者

是永 論 浅岡 隆裕 柄本 三代子 金 相美 岡田 章子 清水 真 酒井 信一郎 重吉 知美 池上 賢 加藤 倫子

出版者

立教大学

雑誌

基盤研究(B)

巻号頁・発行日

2008

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本研究は、日本社会および日本人に関して、「劣化」という表現が言説上について頻繁に使用されているという状況を踏まえ、メディア言説上における劣化表現のありようを解明するために、活字メディアを中心に内容分析を行ったほか、一般のメディアの受け手に対する質問紙およびインタビュー調査から得られたデータの分析結果から、言説どうしが形成する関係と、言説が人々に消費される具体的な過程を明らかにした。

著者

岡田 章子

出版者

桃山学院大学

雑誌

桃山学院大学総合研究所紀要 (ISSN:1346048X)

巻号頁・発行日

vol.26, no.1, pp.11-25, 2000-09-01

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Magic, fairies, and myth are prevalent in many of Keats's poetry. His keen interest in the supernatural elements is especially evident in the fairy heroines in "Lamia" and "La Belle Dame sans Merci" and in the enchanting background in "The Eve of St. Agnes." In these lyric narratives, the mortal-immortal lovers enjoy a momentarily brilliant union in the visionary world, and the mortal lovers in "The Eve of St. Agnes" gain superhuman qualities as they are enchanted by Keats's skillful spell. Japan has also a tradition of myth and folklore where magic and supernatural elements are fused in the human world, but we do not have fairies; "fairies" essentially came from Western culture, and our folktales are much more humble and commonplace. In contrast, Keats's splendid treatment of these elements in the narrative poems particularly attracts me. This essay explores how the magic and fairies work in the three narrative poems named above, in comparison with Japanese folklore and shows how charming Keats's supernatural elements are to the Japanese mind. In "Lamia," all sorts of supernatural phenomena-the mythological background, brilliant magic, transformation, and mortal-immortal lovers-are contained. In "La Belle Dame sans Merci," the fairy is a most mysterious heroine, and the mortal-immortal love is highly intense, being followed by momentary horror, though the knight is uncertain of what has happened to him. In "The Eve of St. Agnes," though we do not have mortal-immortal love nor the practice of magic nor the metamorphosis, the reader and the characters are always enchanted by Keats's spell. In the end the mortal lovers are shifted to fairy lovers and are gone into a visionary realm. Japanese folktales have supernatural creatures; however, they are more properly called "spirits" akin to gods, than fairies. Usually, they are shapeless like air, unlike monstrous Western fairies. The mortal-immortal union is also prevalent in Japanese supernatural tales. But the union is seldom love, usually marriage, and the stability of life. Very frequently, the mortal-immortal marriage is animal-human marriage. As the animals once had their lives saved by men, they appear in the form of women and devote themselves as wives to repay the kindness. This grateful repayment shows a feature of our folktale. They obediently keep house and produce children by spell. After a while, they return to their original animal form or disappear to another realm. In the mortal-immortal relations, women tend to be magicians and demons and transform themselves as in the case of Keats's three narratives. Probably it is universal that women are more likely to be devilish by nature. Another characteristic of our folklore is that our spirits are linked with ordinary common people and common places, not with kings, queens, knights, and castles like Keats's subject matter. Japanese supernatural creatures are not so romantic; rather, they are related to daily life. This difference makes us fascinated with Keats's glorious, sensuous magic and fairies. We adore the romantic love story of the knights and the mysterious fairy lady in "La Belle Dame sans Merci," the lovely mythological background and the magic palace in "Lamia," and the charming Madeline and Porphyro in the medieval castle.

著者

岡田 章子

出版者

日本社会学会

雑誌

社会学評論 (ISSN:00215414)

巻号頁・発行日

vol.60, no.2, pp.242-258, 2009-09-30 (Released:2012-03-01)

参考文献数

22

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本稿は,『女学雑誌』の文学を,キリスト教改良主義による女性と文学の新しい関係性という観点から捉え,その新しい関係性が,後の『文学界』における文学の自律性を求める動きにおいて,どのような意義をもっていたのか,を検討するものである.『女学雑誌』の文学志向は,当時の英米の女性雑誌に影響されたものであり,同時にそれは,明治20年代における「社会のための文学」という潮流において好意的に捉えられ,女性に向けて新しい小説を書く女性作家の登場を促した.彼女たちは,あるいは口語自叙体の小説によって女性の内面を語り,あるいは平易な言文一致体によって海外小説を翻訳するなど,独自の成果を生み出した.しかし,キリスト教改良主義の社会運動や道徳に縛られた文学は,やがて文学の自律性を求める『文学界』の離反を招き,「社会のための文学」ではなく,文学の自律性,ひいては社会における文学の独自の意義が追求されることになった.しかし,こうしたブルデューの定義するような「文学場」の構築を求める動きは,『女学雑誌』との断絶よりも,むしろ共通する「社会にとって文学とは何か」の問いを前提にしたものであり,しかも,樋口一葉という女性作家の,女性の問題のまなざしにおいて成立したという意味で,『女学雑誌』は日本の近代文学の成立において,従来論じられてきた以上に不可欠な役割を担っていた,といえるのである.

著者

岡田 章子

雑誌

大衆文化 = Popular culture

巻号頁・発行日

vol.8, pp.12-20, 2013-01-25

著者

岡田 章子 Akiko Okada

雑誌

英米評論 = English Review (ISSN:09170200)

巻号頁・発行日

no.7, pp.123-138, 1993-01-29

著者

岡田 章子 Akiko OKADA 桃山学院大学文学部

雑誌

英米評論 = ENGLISH REVIEW (ISSN:09170200)

巻号頁・発行日

no.9, pp.139-159, 1994-12-20

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Contemporary women novelists are interesting to me as my fellow travellers in the present-day society. Anita Brookner is particularly familiar and attractive because her novels deal with women who work in the universities and libraries. They seem to be my colleagues. Besides, the streets, the parks, and the shops which I saw in my recent visit to London are vividly described in her novels. These things stimulate me to imagine what England is and what British women are. Brookner's attractive appearance in her photograph also draws me into her world. Brookner's biography is not very well known. She withholds talking about herself and has stopped giving interviews because of the misunderstanding and defamation she had suffered. But in her novels, especially the first three, her life and character are living. Brookner's novels are permeated with profound loneliness. The first book, A Start in Life, is the most autobiographical. It opens with the striking sentence: "Dr. Weiss, at forty, knew that her life had been ruined by literature." Then she looks back at her unhappy life from childhood through her professional career. Meanwhile, the loneliness Ruth Weiss suffers is minutely expressed: how she hates to go home, how she sits alone at a coffee bar on the station platform, and how she stays up in the library until nine o'clock. This loneliness makes her devote herself excessively to her lover when she falls in love. She borrows a flat so that she can invite her lover to dinner at home. She prepares an elaborate dinner for him, which turns out to be meaningless, because he arrives hours late for a trivial reason. She marries her father's exmistress's nephew for convenience, but after six months he is killed in a traffic accident. This brief, loveless marriage gives her momentary security, which, Brookner says, all women need. In the end, she gets a position in a college and looks after her old father. The next novel, Providence, has autobiographical overlays and also reveals a lonely heroine. Kitty Maule is a visiting lecturer in a university. She falls in love with Maurice, her colleague. She, like Ruth, devotes herself entirely to him. Though she is an excellent teacher, her job is significant not for its own sake but for Maurice's sake. Staff meetings are great occasions to her, as she can see him there. She knows that "a man gets tired of a woman if she sacrifices everything for him," but she cannot get rid of her obsession because of loneliness. The description of the minutes waiting for her lover's message in a hotel is almost tragic. She has waited so keenly that when he appears, she is absent-minded. This love ends unfruitfully; after the lecture which she has to give to be promoted to a formal staff position, she finds that Maurice is going to marry one of her students, not very bright. Though she succeeds in getting the promotion, she is thrown into deeper solitude. The third novel, Look at Me, shows a slightly different approach. This time Francis Hinton tells her story in the first person. She works at a reference library in a medical research institute. Her daily life is lonely, especially on holidays. To herself, she names the melancholy feeling on holidays as the "Public Holiday Syndrome." To alleviate the feeling, she writes; she has already published two stories in an American journal. Francis is, in a way, a contrast to Ruth and Kitty; she has a lover named James for whom she does not have to wait. She knows when she can see him next time; she spends relaxing time with him. She does not write on these happy days. But the tragedy comes from her girlfriend whom she trusts. Her love is interfered with by the friend, and James falls in love with Maria, a flippant girl. Francis, in her unhappiness, starts to write again; the story ends with "I pick up my pen. I start writing." This is highly autobiographical, as Brookner says in an interview that she writes to remedy her neurosis. To Brookner, women cannot be happy with professional success; rather it is an outlet for frustrated feelings. She skillfully represents the solitude and the intimate thought processes of intellectual women. Generally they are old-fashioned and hardly seem to be the twentieth century's women. Brookner wants to say that women's loneliness, especially that of single women, cannot be changed, however the society changes. She does not write of men's solitude. Probably she writes only through her feelings.

著者

岡田 章子

出版者

日本社会学会

雑誌

社会学評論 (ISSN:00215414)

巻号頁・発行日

vol.60, no.2, pp.252-258, 2009-09-30

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本稿は,『女学雑誌』の文学を,キリスト教改良主義による女性と文学の新しい関係性という観点から捉え,その新しい関係性が,後の『文学界』における文学の自律性を求める動きにおいて,どのような意義をもっていたのか,を検討するものである.<br>『女学雑誌』の文学志向は,当時の英米の女性雑誌に影響されたものであり,同時にそれは,明治20年代における「社会のための文学」という潮流において好意的に捉えられ,女性に向けて新しい小説を書く女性作家の登場を促した.彼女たちは,あるいは口語自叙体の小説によって女性の内面を語り,あるいは平易な言文一致体によって海外小説を翻訳するなど,独自の成果を生み出した.しかし,キリスト教改良主義の社会運動や道徳に縛られた文学は,やがて文学の自律性を求める『文学界』の離反を招き,「社会のための文学」ではなく,文学の自律性,ひいては社会における文学の独自の意義が追求されることになった.しかし,こうしたブルデューの定義するような「文学場」の構築を求める動きは,『女学雑誌』との断絶よりも,むしろ共通する「社会にとって文学とは何か」の問いを前提にしたものであり,しかも,樋口一葉という女性作家の,女性の問題のまなざしにおいて成立したという意味で,『女学雑誌』は日本の近代文学の成立において,従来論じられてきた以上に不可欠な役割を担っていた,といえるのである.

著者

岡田 章子

出版者

立教大学大学院社会学研究科

雑誌

社会学研究科年報 (ISSN:13466259)

巻号頁・発行日

no.8, pp.79-90, 2001

著者

岡田 章子

出版者

日本マス・コミュニケーション学会

雑誌

マス・コミュニケーション研究 (ISSN:13411306)

巻号頁・発行日

vol.62, pp.82-97, 2003

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Despite recent studies on Japanese popular culture focusing on the representation of "orientalism" and/or nationalism, neo-colonialism and the subject of "orientalism" in the global era have not been sufficiently clarified. By referring to postcolonial theories, this paper reveals the inherent "orientalism" in publications targeted at women (aged 20-35), which featured East Asian cities for tourism from the late 90s. The "orientalism" discussed in this treatise has triple aspects as follows: the closeness to Asia, the admiration for the West, and the internalization of Westerners' eyes on Asia. At the same time, note that the consurmer culture of globalization makes the border meaningless.