著者

鈴木 麻記

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.88, pp.117-136, 2016-01-31 (Released:2017-10-06)

参考文献数

23

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This paper aims to reinterpret the activities of the Manga Artists' Association, the Tokyo-Manga-Kai, in terms of a movement attempting to improve the social position of manga, through a socio-historical consideration of the group's significance and limitations. This study seeks to overcome the limitations of conventional studies of manga history by avoiding the a priori assumption that "manga" was always a self-evident category. Rather, it aims to understand how it became possible for manga to be established as a cultural field and how artistic productions came to be consumed as manga. Additionally, the study aims to problematize these as historical phenomena in their own right. To clarify these points, this study focuses on an association of manga artists, rather than readers or the works themselves. Between the Meiji and Taisho periods, the referential category of "manga" encompassed a wide variety of representational forms, with only vague boundaries between manga and other representational media. To understand manga in contemporary terms as the category that oscillated between multiple boundaries, we need to question how manga artists had defined their own position by prioritizing their self-definition. Therefore, this study focuses on Japan's first association of manga artists, the Tokyo-Manga-Kai, and undertakes an analysis of the group's activities. The results of my analysis revealed that, in the Taisho period, without the establishment of manga as an autonomous and bounded field, manga artists were situated in a multi-layered and ambivalent position between the categories of art and journalism, and carried out various movements to define their position. While these movements may appear to have led to the promotion of manga and manga artists, they did not ultimately lead to the elimination of characteristic ambivalence.

著者

大尾 侑子 鈴木 麻記

出版者

東京大学大学院情報学環

雑誌

情報学研究 : 学環 : 東京大学大学院情報学環紀要 = Journal of information studies (ISSN:1880697X)

巻号頁・発行日

no.89, pp.51-65, 2015-10-30

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査読研究論文

著者

八木 こずえ 鈴木 麻記子 坂井 美加子 北村 育子 阿保 順子

出版者

日本精神保健看護学会

雑誌

日本精神保健看護学会誌 (ISSN:09180621)

巻号頁・発行日

vol.17, no.1, pp.12-23, 2008 (Released:2017-07-01)

参考文献数

9

被引用文献数

1

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本研究は、地域生活を営む初発の統合失調症患者に対して、自我強化に焦点をあてた看護面接を実施し、寛解期以降の生きにくさの本質と、看護面接の構造を明らかにすることを目的とした。対象は青年期の初発の患者3名である。面接は精神科看護経験3年以上の面接者3名が、生活体験を自我にフィードバックすることを主眼に行った。面接記録から生きにくさの本質と面接方法を質的に抽出し、カテゴリー化した。その結果、対象の生きにくさとは、【病気の本態に関連する生きにくさ】に対して【病気である自分に対する思い】と日々格闘しながら【他者との間で葛藤】し、【日常生活の制約】を強いられるという相互関係があった。またそれが、自己を確かな者と感じることを妨げており、その【不確かな自己】がさらに生きにくさを助長する構造をなしていた。面接者は迷いや限界、自分の傾向性をはじめ、患者の可能性に気づく体験をしており、最終的には【患者の鏡になる】役割を果たしていた。

著者

鈴木 麻記

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

no.88, pp.117-136, 2016-01-31

---

This paper aims to reinterpret the activities of the Manga Artists' Association, the Tokyo-Manga-Kai, in terms of a movement attempting to improve the social position of manga, through a socio-historical consideration of the group's significance and limitations. This study seeks to overcome the limitations of conventional studies of manga history by avoiding the a priori assumption that "manga" was always a self-evident category. Rather, it aims to understand how it became possible for manga to be established as a cultural field and how artistic productions came to be consumed as manga. Additionally, the study aims to problematize these as historical phenomena in their own right. To clarify these points, this study focuses on an association of manga artists, rather than readers or the works themselves. Between the Meiji and Taisho periods, the referential category of "manga" encompassed a wide variety of representational forms, with only vague boundaries between manga and other representational media. To understand manga in contemporary terms as the category that oscillated between multiple boundaries, we need to question how manga artists had defined their own position by prioritizing their self-definition. Therefore, this study focuses on Japan's first association of manga artists, the Tokyo-Manga-Kai, and undertakes an analysis of the group's activities. The results of my analysis revealed that, in the Taisho period, without the establishment of manga as an autonomous and bounded field, manga artists were situated in a multi-layered and ambivalent position between the categories of art and journalism, and carried out various movements to define their position. While these movements may appear to have led to the promotion of manga and manga artists, they did not ultimately lead to the elimination of characteristic ambivalence.

著者

大尾 侑子 鈴木 麻記

出版者

東京大学大学院情報学環

雑誌

情報学研究 : 学環 : 東京大学大学院情報学環紀要 (ISSN:1880697X)

巻号頁・発行日

vol.89, pp.51-65, 2015-10-30

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査読研究論文