著者

鍵本 優

出版者

日本マス・コミュニケーション学会 ; 1993-

雑誌

マス・コミュニケーション研究 = Journal of mass communication studies (ISSN:13411306)

巻号頁・発行日

no.92, pp.105-123, 2018

著者

鍵本 優

出版者

日本メディア学会

雑誌

マス・コミュニケーション研究 (ISSN:13411306)

巻号頁・発行日

vol.92, pp.105-123, 2018-01-31 (Released:2018-05-10)

参考文献数

44

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Digital games occupy a big position in today’s media culture. The earlyJapanese culture of home digital games partly developed with content intendedto scare the player. The frightening experiences that are involved in playingsuch games have been often talked about by the players, even if the games werenot necessarily of the horror genre. However, conventional Japanese digitalgame studies cannot explain these social facts of the frightening experiencessufficiently. The purpose of this paper is to deal with the theoretical problem mentionedabove. By considering the frightening experiences in Japanese gamesconcretely, this paper submits a novel and effective theoretical and culturalinterpretation of the experience in digital games as media. It is a ‘fear not tofade away’ arising from gaming practices that this paper notices in particular. This paper is written with the following method and procedure. Firstly,this paper checks the framework of the conventional theory of experiences indigital games( Section 1). Secondly, the problem of this framework is examinedin detail by way of discussing the frightening experiences( Section 2). Then, inorder to manage this problem, this paper considers the concrete cases of playingAVGs(Adventure Games) and RPGs(Role Playing Games) in the Japanesegame culture (Section 3). Finally, conclusions are derived from the previousdiscussion and considerations( Section 4). The conclusions of this paper are as follows. Firstly, the media theory ofexperiences in digital games should pay attention to the player’s mental, bodilyand sensorial self-transfer to the media. Secondly, in Japanese society around1990, the cultural development of digital games with many narrative elements(in particular in AVGs and RPGs) necessarily produced the possibilities of“being shocked” experience.

著者

鍵本 優

出版者

社会学研究会

雑誌

ソシオロジ (ISSN:05841380)

巻号頁・発行日

vol.60, no.2, pp.39-56, 2015

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<p>本稿では、「個人的主体が自分自身を突き放すかのように対象化して、それを観念的に破壊・消去・無化・無意味化・空虚化・無価値化していこうとすること」を「脱・自分」と呼ぶ。そのさい具体的・実質的な自己同一化対象をもたないものに限定する。また、自己に関するメタレヴェルの認知が充分可能な状態のものにも限定する。 本稿の目的は、社会学的な「脱・自分」論の理論的可能性を社会学的アイデンティティ論・自己論にそくして模索しつつ、その可能性が阻まれてきた要因をそれらの批判的検討によって指摘することである。 本稿の結論は次のようになる。従来の議論が「脱・自分」を扱えなかった要因には四つある。第一に、想像的な同一化を内的実践の基本論点としたことである。第二に、トータルな自己観念への視点が弱かったことである。第三に、内的実践の機能が自己や社会的秩序の構成・維持に限定されてきたことである。第四に、アイデンティティや自己を扱うさいに社会学が準拠してきた「自己の(再)構成や安定的維持を欲する」という人間像があまりに強固なことである。 本稿の構成は以下のようになる。まず問題提起を行い(第1節)、「脱・自分」という用語の定義と具体的事例とを示す(第2節)。そして、それに着眼する本稿の社会学的意義を論じたうえで(第3節)、従来の社会学的アイデンティティ論・自己論に組み込まれた前提を批判的に検討する(第4節・第5節)。最後に、それらが「脱・自分」を問題化できなかった理論的諸要因を指摘し、その限界を乗り越えるべく「特定の社会状況下での『脱・自分』の欲望の発動」という論点とそれへの知識社会学的アプローチとを提案する(第6節)。 </p>

著者

鍵本 優

出版者

Kyoto University (京都大学)

巻号頁・発行日

2013

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文博第627号

著者

鍵本 優

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.69, pp.57-72, 2006-07-31 (Released:2017-10-06)

参考文献数

32

---

The audience has been caught from the passive / active audience to the diffused state of audience image by the socio-cultural positions. However, the present approach is only to discuss the semantic interpretations of the contents of media. In this paper, the audience experience about "passivity of shock" is mentioned. It is connected with the view of "body as a field." And by reconsidering the perspective that grasps audience / image, it is argued critically that the conventional "passivity" cannot deal with the problem of "passivity of shock." Furthermore, this paper proposes the direction in which "passivity" concept is reconsidered.

著者

鍵本 優

出版者

社会学研究会

雑誌

ソシオロジ (ISSN:05841380)

巻号頁・発行日

vol.48, no.3, pp.3-18,146, 2004-02-29 (Released:2016-05-25)

参考文献数

34

---

Audience research has made various analyses of media effects and audience groups. It mainly discusses the meanings that audiences interpret about the content of TV or radio programs. In modern society, they can be called 'the diffused audience', because their imaginations interpreting the meanings make their social identities much different and changeable (Abercrombie and Longhurst, 1998). But in the case of 'music audience', they receive the music texture as well as the content. Music fans are involved with not only melodies, words or fashions but also guitar sounds or vocal textures. Audience research has only discussed the former. So it cannot discuss how touching the surface of sounds affects the music audience. What happens to audience when they touch sounds? The purpose of this paper is to answer this question. To accomplish this purpose, this paper borrows the concept of 'materiality' from aesthetics on music. Materiality makes the information in the media text no sense. The information of media text constructs audience identities. So, when they touch the texture and the information has no sense, their own identities will be trembling. That is the experience of the textural reception of sounds. I think it is another identification. Normally, identification is described the process of identifying with others, either through lack of awareness of difference or separation (Woodward, 1997). But another mode of identification is marked out only by lack of awareness of difference or separation. From the discussion, this paper suggests that music audience researchers should reconsider the concept of 'identification' and introduce the new concept of identification. It is 'the identification towards nothingness'. It means to make the difference between the person and the others less and less. So, two modes of identification look opposite; towards various identities and towards no identity. Two identifications are the processes that identity is changing. Audience theory argues that social identity is changeable. So, both concepts of identification should be located in the problem of social identity.

著者

鍵本 優

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.66, pp.74-90, 2005-01-31 (Released:2017-10-06)

参考文献数

33

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The paper attempts to relate two modes of enjoying music for audience. One is identifying with others or ideas through interpreting about the meaning. The other is the identification toward nothingness through the textural reception of sounds. The way of discussion is to reconsider the body of audience as a field theoretically. This paper suggests that there are four directions of enjoying music with the change of the image of a body. In conclusion, the experience of music audience is that the multilayer images of a body are changing and being connected with each other in the process of reception.

著者

鍵本 優

出版者

社会学研究会

雑誌

ソシオロジ (ISSN:05841380)

巻号頁・発行日

vol.51, no.2, pp.109-125, 2006-10-31 (Released:2016-03-23)

参考文献数

27

著者

鍵本 優

出版者

京都産業大学

雑誌

京都産業大学論集. 社会科学系列 (ISSN:02879719)

巻号頁・発行日

vol.39, pp.293-330, 2022-03-31

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「self」「personality」「主体」「identity」「自己」「自分」といった諸用語は,類似した意味を含みながらも,それぞれ特徴と限界をもつ。本稿の目的は,「自分」と諸用語を比較検討し,社会学的な「脱・自分」論の対象を分類・整理する認識枠組みを示すことである。本稿の結論は次のようになる。「自分」の語と概念には近代日本社会特有の複雑さがある。自分が「脱」の対象となるとき,その複雑さはとくに反映される。この考察は社会学に新たな理論的知見をもたらす。自分の再帰性には,内容の多様性以外に,形式の多元性が関わる。今後は,自分の再帰性に関わる多元的な形式にも着眼した社会学的議論が期待される。

著者

鍵本 優

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.69, pp.57-72, 2006

---

The audience has been caught from the passive / active audience to the diffused state of audience image by the socio-cultural positions. However, the present approach is only to discuss the semantic interpretations of the contents of media. In this paper, the audience experience about "passivity of shock" is mentioned. It is connected with the view of "body as a field." And by reconsidering the perspective that grasps audience / image, it is argued critically that the conventional "passivity" cannot deal with the problem of "passivity of shock." Furthermore, this paper proposes the direction in which "passivity" concept is reconsidered.

著者

鍵本 優

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

巻号頁・発行日

vol.92, pp.105-123, 2018

---

<p> Digital games occupy a big position in today's media culture. The early</p><p>Japanese culture of home digital games partly developed with content intended</p><p>to scare the player. The frightening experiences that are involved in playing</p><p>such games have been often talked about by the players, even if the games were</p><p>not necessarily of the horror genre. However, conventional Japanese digital</p><p>game studies cannot explain these social facts of the frightening experiences</p><p>sufficiently.</p><p> The purpose of this paper is to deal with the theoretical problem mentioned</p><p>above. By considering the frightening experiences in Japanese games</p><p>concretely, this paper submits a novel and effective theoretical and cultural</p><p>interpretation of the experience in digital games as media. It is a 'fear not to</p><p>fade away' arising from gaming practices that this paper notices in particular.</p><p> This paper is written with the following method and procedure. Firstly,</p><p>this paper checks the framework of the conventional theory of experiences in</p><p>digital games( Section 1). Secondly, the problem of this framework is examined</p><p>in detail by way of discussing the frightening experiences( Section 2). Then, in</p><p>order to manage this problem, this paper considers the concrete cases of playing</p><p>AVGs(Adventure Games) and RPGs(Role Playing Games) in the Japanese</p><p>game culture (Section 3). Finally, conclusions are derived from the previous</p><p>discussion and considerations( Section 4).</p><p> The conclusions of this paper are as follows. Firstly, the media theory of</p><p>experiences in digital games should pay attention to the player's mental, bodily</p><p>and sensorial self-transfer to the media. Secondly, in Japanese society around</p><p>1990, the cultural development of digital games with many narrative elements</p><p>(in particular in AVGs and RPGs) necessarily produced the possibilities of</p><p>"being shocked" experience.</p>

著者

鍵本 優

出版者

社会学研究会

雑誌

ソシオロジ (ISSN:05841380)

巻号頁・発行日

vol.48, no.3, pp.3-18,146, 2004

---

Audience research has made various analyses of media effects and audience groups. It mainly discusses the meanings that audiences interpret about the content of TV or radio programs. In modern society, they can be called 'the diffused audience', because their imaginations interpreting the meanings make their social identities much different and changeable (Abercrombie and Longhurst, 1998).<br> But in the case of 'music audience', they receive the music texture as well as the content. Music fans are involved with not only melodies, words or fashions but also guitar sounds or vocal textures. Audience research has only discussed the former. So it cannot discuss how touching the surface of sounds affects the music audience.<br> What happens to audience when they touch sounds? The purpose of this paper is to answer this question. To accomplish this purpose, this paper borrows the concept of 'materiality' from aesthetics on music. Materiality makes the information in the media text no sense. The information of media text constructs audience identities. So, when they touch the texture and the information has no sense, their own identities will be trembling. That is the experience of the textural reception of sounds.<br> I think it is another identification. Normally, identification is described the process of identifying with others, either through lack of awareness of difference or separation (Woodward, 1997). But another mode of identification is marked out only by lack of awareness of difference or separation.<br> From the discussion, this paper suggests that music audience researchers should reconsider the concept of 'identification' and introduce the new concept of identification. It is 'the identification towards nothingness'. It means to make the difference between the person and the others less and less. So, two modes of identification look opposite; towards various identities and towards no identity.<br> Two identifications are the processes that identity is changing. Audience theory argues that social identity is changeable. So, both concepts of identification should be located in the problem of social identity.

著者

鍵本 優

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.66, pp.74-90, 2005-01-31

---

The paper attempts to relate two modes of enjoying music for audience. One is identifying with others or ideas through interpreting about the meaning. The other is the identification toward nothingness through the textural reception of sounds. The way of discussion is to reconsider the body of audience as a field theoretically. This paper suggests that there are four directions of enjoying music with the change of the image of a body. In conclusion, the experience of music audience is that the multilayer images of a body are changing and being connected with each other in the process of reception.