著者

福田 周

出版者

リトン

雑誌

死生学年報

巻号頁・発行日

vol.13, pp.123-145, 2017-03-31

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Takuboku Ishikawa was a poetic genius during the Meiji Era. He showed outstanding intelligence from childhood. He displayed talent as a poet in his teenage years and moved to Tokyo, intending to become a novelist. In this, however, he did not succeed and experienced a serious setback. During this time of living in poverty, however, he produced his revolutionary collection of poems, included in A Handful of Sand. Yet, at the young age of 27, he died of tuberculosis. In this article, Takuboku Ishikawa’s life will be reviewed, focusing on how his psychological conflicts developed. The author also discusses how these conflicts influenced Ishikawa’s works through an examination of his diaries and tanka.The results of this study show that Ishikawa did not write tanka for his own personal benefit. For him, tanka were reflections of his subconscious self, a type of creative regression. In his tanka, he honestly wrote about his existence. That is, the tanka are an “egotistic” expression of himself as a special person, and his feelings of anger and rebellion that he was not esteemed by the world. Through his tanka, Ishikawa was able to face his weak and ugly sides for the first time.During the period when Ishikawa was unable to write novels, there were many references to death in his work. However to him, death may have held the meaning of an escape from reality. For Ishikawa, illness and death were almost the same as sleep. The action of sleeping could be considered an extreme escape from reality. However, after Ishikawa abandoned novels, he came to face reality; he gradually became grounded to the real world through critique, and he began to seriously confront the circumstances of his life. However, in the middle of this transition, he died of an illness.

著者

福田 周

出版者

リトン

雑誌

死生学年報 = Annual of the institute of thanatology

巻号頁・発行日

vol.10, pp.207-236, 2014-03-31

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In this article, the process of psychological recovery from trauma caused by a major earthquake through the use of namazu (gigantic catfish) drawings (called namazue in Japanese) is examined. Namazue can bee seen in the tile block print pictures found in kawaraban, newspapers of the Tokugawa Period, several of which were published around the time of the Great Ansei Earthquake (1855) which struck Edo (Tokyo) at the end of the Edo Period.Ordinary people in Edo used catfish to symbolize the damage caused by the earthquake and their feelings toward it. According to Komatsu (1995), they were able to reduce their earthquake-related fear and anxiety through namazue. Komatsu classified the psychological modification process of the images of namazue into four categories: a) Direct expression, b) Imagery representing cursing, c) Personified and ambiguous images, and d) Images of recovery.This process is then compared with that of post-traumatic play therapy. Using a drawing of one elementary school student who suffered from a recent earthquake experience as an example, the same self-healing process of creating images of namazue can be seen.In conclusion, for reconstruction in the disaster area of the Great East Japan Earthquake to proceed, the author recommends that: 1) people should be mindful of the potential psychological effects that namazue may have on psychological recovery from trauma; 2) people should trust their own, innate human power of recovery; and 3) an environment should be created in which the psychological recovery process can proceed smoothly.

著者

福田 周

出版者

リトン

雑誌

死生学年報

巻号頁・発行日

vol.11, pp.145-172, 2015-03-31

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Frida Kahlo was a woman painter born in Mexico in the first half of the 20th century. Many of her works were self-portraits in which she expressed her own personal suffering in her work. This suffering included the aftermath of childhood poliomyelitis, distress due to disability after a traffic accident, and her agony over her love for her husband, Diego Rivera.In Kahlo’s life she was repeatedly deprived of attachment figures. Kahlo’s suffering can be traced to two major experiences:[1] She was deprived of the relationship with her mother due to the birth of her sister.[2] Her relationship with her body was seriously altered due to polio and the traffic accident.Regarding [1], she was first left without a relationship with her mother at the time of her sister’s birth. This was because Kahlo came to be brought up by her nanny, instead of her mother who was more focused on her sister. A close relationship with one’s mother gives a child a sense of basic trust. Regarding [2], she lost the freedom to take action; therefore, she developed an introverted character. As a child, Kahlo asked for salvation from imaginary companions while she was under medical treatment. In her adult life, she turned to the canvas for salvation.A theme appeared in her later self-portraits that had not been seen in her early work. This was a transformation of her relationship with her mother into one with the Great Mother or Mother Earth. In the end, Kahlo could not connect intimately with others in direct relations. She could, however, connect with Rivera thorough symbolic relations that represented a unity rooted in Mother Earth. It was here that Kahlo finally found peace.

著者

福田 周平 山崎 国人 土浦 宏紀 小形 正男

出版者

一般社団法人 日本物理学会

雑誌

日本物理学会講演概要集

巻号頁・発行日

vol.73, pp.1679, 2018

著者

福田 周

出版者

リトン

雑誌

死生学年報 = Annual of the Institute of Thanatology, Toyo Eiwa University

巻号頁・発行日

vol.7, pp.5-22, 2011-03-31

著者

福田 周 小川 捷之

出版者

横浜国立大学

雑誌

横浜国立大学教育紀要 (ISSN:05135656)

巻号頁・発行日

vol.28, pp.21-39, 1988-10-31

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The purpose of this study is to discuss the dependency and sex role in interpersonal relationships in female adolescents. Two questionnaires were administered to 123 female university students and 60 female technical college students. The first questionnaire asked Ss how dependent they were in what mode on 5 objects (father, mother, the most intimate friend of the same sex, the most intimate friend of the opposite sex, i.e., love object, the most intimate brother or sister). The second was a MHF scale composed by Ito (1978) asking Ss the view of sex role they had. The following 2 points were discussed:(1) The generally dependency structure on objects close to female adolescent.(2) The relation between the dependences and the view of sex role. The main results were as follows: There were differences in quality with objects in dependency structure.(2) Female adolescents depended on their fathers on the instrumental side.(3) Female adolescents depended on their mathers on the emotional side.(4) Dependency structure in them had each differents with every view of sex role.