著者

難波江 和英

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.15, pp.1-21, 2001-03-31

著者

難波江 和英

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

no.26, pp.113-143, 2012-03

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This paper is an attempt to present a new interpretation of The Suspect X's Dedication by Keigo Higashino through an analysis concerning the discourse of sexuality in the text. The initial key to critical approach to The Suspect X's Dedication has been set in the "controversy over the authenticity of mystery fiction"led by several writers such as Reito Nikaido,Ken Hatano,and Shigeki Omori. Major topics in the controversy vary from the definition of "authentic mystery fiction" to thevalidity of clues to reasoning and the technical probability of tricks. Thesecritiques,however,fail to read The Suspect X's Dedication primarily as a pieceof literary work. Furthermore,major critics concerned discuss man-womanrelationships in the text with general heterosexual terms, and fail to differentiate their critical language from their daily language. The most "critical" point in this paper lies, as shown herein,in the unconscious liaison between the formation of human beings as sexual existence and the discourse of sexuality they use in daily life. Seen in this light,The Suspect X's Dedication stands out among the other works of the Galileo Series. It is that this work not only portrays people as sexual existence but also reveals the process through which they undergo theirself-formation as such and live it as social reality. Worthy of note is the factthat the scholar-detective,Manabu Yukawa,who is usually treated as genius,refers to himself as an "ordinary person"only in this case. From this fact derives a couple of points that have escaped critics' attention so far. One is the unreality of the case that has made even Yukawa am an of mediocrity,while the other is a new vision of human existence that is made available by the suspect X,Tetsuya Ishigami, as he commits an "extraordinary" crime in theguise of an "ordinary" person. The key to these points is placed in where it can hardly be detected,viz. in the term "dedication." It is impossible, however,for the reader to account forthe prominence of the work by defining the term,for it has never been used inthe work except for the title. How can it be then that Ishigami has managed tolive the "meaning" of"dedication" so as to exploit the possibility of human existence beyond the understanding of ordinary people? The most efficient approach to the question is to investigate the formation of heterosexual love which the other characters promote with reference to the discourse of sexuality, and to define the term "dedication"as something that cannot be found in there. This paper thus identifies the secular mode of heterosexual love as a circle and aims to capture Ishigami's sense of "dedication"as its void.-143-

著者

難波江 和英

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.17, pp.73-114, 2003-03-31

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This is the last part of the present trilogy study on discourses of heterosexual love in J-POP. The opening chapter contains a summary of Part I and Part II, which is devised to help the reader have a quick review of the preceding chapters so that they will readily posit the main body of Part III in a proper and whole contextual perspective. The second chapter titled "Historicizing the Heisei Period" discusses the cultural climate of the Heisei period in which heroines and heroes of J-POP have been faced with difficulties in establishing their love relationship. A further discussion shows that they are obsessed with a new fin-de-siecle syndrome in which pursuits for truth (ex. "the true love" and "the true self") are destined to fail. In other words, they are bewildered to see that theirs is an age in which love appears to be something other than love or in which love is simply hidden form their view. This is due to the merge of sexual liberation and sexual commodification that has been characterizing the capitalistic facets of modern Japan. In this situation, the key to their search for "the true love" shifts from "heart" through "game" to "performance." The third chapter titled "Love and Happiness" brings into question the missing link between love and happiness in the Heisei period. A broad survey of popular songs from the 1960s to the early stage of the 1970s reveals a couple of musical phenomena unique to this time span. First, there were still a large number of "female songs" in which love and happiness were inseparably linked for women. Second, there were a far smaller number of "male songs" in which men put their love to women directly into words. It is only with some signs of hesitation that they verbalized the sense of happiness they felt to women. A comparative reading of popular songs from the 1960s to the 1980s shows that this restraint of men was beginning to be canceled toward the end of the 1970s. It is at this stage that male characters in popular songs started to sway between the loss of the criterion by which they managed to be "a man" and the newly developed sense of aspiration for such role models as their previous generation had once cherished. The fourth and final chapter is titled "From Happiness to Fulfillment," for it aims to demonstrate selective methods by which young Japanese people of the Heisei period could learn to sublimate their sense of happiness to a new phase of joy - a sense of fulfillment. As some of the major characters in J-POP indicate, their failure to confirm or solidify their sense of happiness per se derives partly from their lack of role models and partly from their consequent obsession with a search for "the true self." In the world of J-POP, a number of heroines and heroes are so busy looking for their "real me" that they fail to see the significance of the other who is capable of both offering and canceling the very foundation of their selfhood. Even when they face their boy/girlfriends, they are too busy getting stuck together to notice that their happiness lies not in mutually satisfying their personal desire but in repeatedly reforming or endlessly unfolding what would otherwise be an amorphous self. The steady merge of love and capitalism in the Heisei period spurs this trend into more radical commodification of "love=happiness" than ever. Incidentally, some of the heroines in J-POP go so far as to measure the degree of their happiness either by comparing it with others' or by converting it to its monetary value, viz. the amount of money their boyfriends have spent for them. In this respect, the Heisei period, in which love is allegedly missing, comes out nothing more than a trendy drama of cultural materialism through which the norm of love, if not love itself, has gained its tangible form. It does not mean that "the true love" as well as "the true self" does exist as some entity. It should be rather that love manifests itself as a lived rendering of virtual reality in the sense that it can be created, developed, transformed, perished, and recreated through the social network of human beings and with the accumulation of thoughts and experiences. Those who do not hold this view are eager to pursue the entity of "the true happiness" as if it were somewhere beyond the realm of their daily life, and end up gratifying their personal desire on the basis of the stereotyped image of happiness. As a critical reading of "The Magic of Midsummer" by Lead suggests, it is only within the framework of their daily routine that a series of unforgettable and therefore "happy" events emerge, just when they are led from the shadow of uneasiness through the secular cloud of happiness into the internal glow of bliss in their love relationship.

著者

難波江 和英

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.16, pp.121-142, 2002-03

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This monograph is the second part of the ongoing trilogy study on discourses of heterosexual love in J-POP.This part consists of two chapters titled "Boredom and Stimulation"and"Mole>Female'&'The Weak/ The Weak'"respectively.The first chapter shows that Japanese youth are now so much inficted with boredom that they are willing to gain ready-made simulation from their love relationships in an attempt to find a way out.As proved through analysis, their boredom derives neither from the lack of stimulation nor from the excess of stimulation but from the constant saturation of srimulation.Now that they are wealthy enough to fill their basic needs for life, they wish to gain even stronger stimulation in the easiest way possible, like having a chat through a mobile phone and finfing a girl/boy friend.The second chapter shows that a majority of young people in Japan are now fascinated by having a girl/boy friend, for they believe in the myth of "Almighry Love."In this belief, both girls and boys find the most dominant discourse of love in that love makes them stronger.This suggests in effect that they start their love relationships with an assumption that both of the couple are "weak."As indicated in J-POP songs such as "sweetness"by MISIA, "B'coz I love yuo"by Hitomi Yaita, and"A Boy"by Yuzu, however, their real problem lies in their bind conceming heterosexual love : they are tied not only to the newly devised discourse of "the Weak vs.the Weak"but also to the outdated discourse of "Male>Female"that has been carried over by the generation of their parents.It is shown in conclusion that these young people are trying are trying yo diminish the fearful space distancung the couple in order to be "one" all the time and thus find no apace left to place themselves as someone.Thus their love relationships are filled with an unprecedented sense of uneasiness emerging from the failure of living alone, addiction to codependency, and the resignation of being someone, Remedial methods to cope with these issues will be clarified in the final third part of this serial study on deiscourses of heterosexual love in J-POP.

著者

難波江 和英

出版者

神戸女学院大学

雑誌

神戸女学院大学論集 (ISSN:03891658)

巻号頁・発行日

vol.43, no.2, pp.15-43, 1996-12

著者

難波江 和英

出版者

神戸女学院大学

雑誌

論集 (ISSN:03891658)

巻号頁・発行日

vol.61, no.2, pp.107-122, 2014-12

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本稿は、ジャン・ボードリヤールの思想を時系列に即して解説・批判するシリーズの最終回である。今回のテーマはテロリズム、特に2001年9月11日の米同時多発テロをめぐる論考を取り扱う。テキストは、『テロリズムの精神』(2002年)、『パワー・インフェルノ』(2002年)、『世界の暴力』(2003年)、『暴力とグローバリゼーション』(2004年)である。但し『世界の暴力』は、『パワー・インフェルノ』の表現・内容と重複しているため、相互参照にのみ利用する。『テロリズムの精神』の斬新さは、米同時多発テロを「出来事の『母型』としてとらえた点にある。つまり、あのテロは、世界を全体化するグローバル・パワーを逆流させる供儀として、単一の価値観に支えられた世界秩序から、その普遍性を奪うすべての暴力を象徴している、ということである。『パワー・インフェルノ』はそこからさらに、ツインタワーの象徴性、米同時多発テロに関する仮説、他者の不在、を主たる論点として展開する。ツインタワーは、その双子性によって、二項対立を無効にするハイパーリアルの世界を象徴している。テロリストたちのターゲットは、まさにこの象徴性にあった。ボードリヤールは、そうした観点に立って、テロリズムという暴力を、世界システムにより他者性を奪われた、あらゆる文化による拒否の表現、自死を介した他者性の贈与とみる。『暴力とグローバリゼーション』は、ボードリヤールの日本での講演録であり、出来事、非・出来事、現代の暴力をメインテーマにしている。現代人は他の何ものにも還元できない出来事を情報へ変換して、それを記号化された現実として、つまり非・出来事として消費している。米同時多発テロでさえ、真の出来事として勃発しながら、情報処理され、いわゆる現実と置換されて、非・出来事へ転落していく。出来事の代替物として非・出来事を生産し、流通させるグローバル・パワーの膨張、そこに、ボードリヤールは「現代の暴力」を見る。

著者

難波江 和英 Kazuhide NABAE

雑誌

神戸女学院大学論集 = KOBE COLLEGE STUDIES

巻号頁・発行日

vol.59, no.2, pp.75-91, 2012-12-20

著者

難波江 和英 Kazuhide NABAE

雑誌

女性学評論 = Women's studies forum

巻号頁・発行日

vol.15, pp.1-21, 2001-03-31

著者

難波江 和英

出版者

神戸女学院大学研究所

雑誌

神戸女学院大学論集 = Kobe College studies (ISSN:03891658)

巻号頁・発行日

vol.63, no.2, pp.69-88, 2016-12

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本稿は、アガサ・クリスティ(1890-1976)の『バートラム・ホテルにて』(1965)に関して、これまでジャンル批評ではあまり評価されてこなかったミステリーとしての側面を踏まえ、改めて、その文学作品としての真価を記号論の観点から明らかにする試みである。『バートラム・ホテルにて』は、主人公のミス・マーブルよりデイビー警部の活躍が目立つため、「警察小説」のように見え、ミステリーとしても「凡作」と思われてきた。しかし、ミステリーというジャンルを創作の枠組みとしながらも、「ミステリー」というカテゴリーを批評の軸とする視点からは見えてこない何かを浮かび上がらせるように描くことーそこにこそ、クリスティが夢見た文学の理想はあったと考えられる。その「何か」とは、この作品の単なる背景と思われてきたバートラム・ホテルが、20世紀後半に「仮想現実」と呼ばれ始める人工のリアリティや、テーマパークとして花開く記号系の商品を先取りしていた点に求められる。バートラム・ホテルは、原理としてはエドワード王朝の「見せかけ」であるにもかかわらず、経験としては「オリジナル VS. コピー」という二項対立を無効にする「ほんもの」としてのリアリティを帯びながら、時間の壁を越えている。それと同様に、ホテルをめぐる日常風景と犯罪行為も、それぞれ「見せかけ」と「ほんもの」を反転させるという構造を取りながら、ホテル全体を一つの記号 "pockets" として、つまり「客の隠れ場ー犯人の隠れ家」として表裏一体に構成していく。クリスティが「ミステリー」を媒体として描こうとしたのは、まさに仮想現実を思わせるほど「見せかけ=ほんもの」が広がる記号の世界だったと言える。現実は虚構、虚構は現実。人間とは、その反転を生きる役者。クリスティは『バートラム・ホテルにて』において、ホテル全体を記号の世界に仕立てながら、このシェイクスピアのメッセージを現代に甦らせている。