著者

青木 然

出版者

公益財団法人史学会

雑誌

史學雜誌 (ISSN:00182478)

巻号頁・発行日

vol.123, no.11, pp.1929-1968, 2014-11-20

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This article studies the perceptions of Korea and China among the people in Japan during the latter part of the 19th century. The antecedent research has explained that the people had become to transfer their own sense of inferiority to their East Asian neighbors, whose Westernization had been stagnant, and disdained them because the people's opposition to Westernization had been crushed by means of the suppression of the revolt. This interpretation ignores the contradictory situation of a nation of people unable to internally resolve their own opposition to Western culture, while looking down on other nations based on those same Western standards. In order to show the way such a contradiction was dealt with in the Japanese mass consciousness, this article takes up the popular entertainment, especially kodan (講談), the Japanese traditional storytelling, to extract the Japanese people's understanding of Western culture and their hopes represented by the images of Korea and China on a deeper level than what was expressed in rebellion. In presenting the evidence, the author attempts to clarify the features of narrative of the popular entertainment in order to interpret its depiction of Korea and China in terms of popular understanding by focusing on the mentality of popular entertainment, as well as the changes of national entertainment policy, trends and social contexts. In concrete terms, the author identifies two conflicting types of narration in popular entertainment at the time: the satirical style that originated on the urban scene during the late Edo period and the oratorical style, which first appeared during the 1880s, against a backdrop of increasing migration from the countryside into the cities. In the performances taking up such events of the early 1880s as the Imo Incident (July 1882) in Seoul, Korea and the Sino-French War (1884-85), we find satirical narrative showed its twisted sympathies with "obstinateness" of the forces of resistance in both countries and ridiculing the shallow Westernized behavior of the Japanese people. On the other hand, when dealing with the 1st Sino-Japanese War, the oratorical style pours invective and abuse upon the Chinese, while the satirical performances objectified them and counteract with words of sympathy for the Koreans and Chinese. In the presence of such conflicting narrative styles, the Japanese people became aware of Korea and China not only as scapegoats for its own oppression, but also as a means of escaping from the constant anxiety of being confined within the limits of the Western code of civilized behavior. However, the difficulty in confronting the fallacy of its civilized self-image became expressed in the Japanese people's hesitation to empathize with its Korean and Chinese counterparts. Such a way of adopting Western civilization, which skillfully grants dispensation from self-denial, can be called, in the opinion of the author, one of the "privileges" accorded the masses living under imperial rule.

著者

青木 然 川村 純平 後藤 航大 島 奈穂 吉田 拓功 林 美都子

出版者

日本認知心理学会

雑誌

日本認知心理学会発表論文集 日本認知心理学会第19回大会

巻号頁・発行日

pp.41, 2022 (Released:2022-04-20)

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本研究では公園でのごみのポイ捨て行動について、Dark Triad(マキャベリアニズム、自己愛傾向、サイコパシー傾向の3特性を総称した概念)と呼ばれるパーソナリティ特性からの説明を試みた。大学生130名程度を対象に、実験参加者には9枚の公園の写真を提示し、その写真に対して、“どれだけポイ捨てを行いやすいか”を5件法で回答を求めた。また、Dark Triad尺度であるSD3-J(下司・小塩, 2017)を用いて、上位群と下位群に分け、Dark Triad得点の上位群と下位群における‘‘どれだけポイ捨てを行いやすいか”得点にt検定を行ったところ、サイコパシー傾向とDark Triad全体では、各上位群が各下位群よりも比較的ポイ捨てを行いやすいことが明らかとなった(t(45)=2.37 , p<.05 ; t(40)=1.92 , p<.10 )。Dark Triadの高い者は自分本位であるが故に周囲を気にせずポイ捨て行動をしやすいことが考察された。今後は紙媒体での質問だけではなく、実際のポイ捨て行動からも検討していく必要性があるだろう。

著者

後藤 航大 青木 然 川村 純平 島 奈穂 吉田 拓功 林 美都子

出版者

日本認知心理学会

雑誌

日本認知心理学会発表論文集 日本認知心理学会第19回大会

巻号頁・発行日

pp.40, 2022 (Released:2022-04-20)

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川村ら(2021)は、ポイ捨て写真に対する印象を因子分析を用いて、「辟易」「敬意」「世間の目」に分類したが、それぞれどの程度影響を与えているのかは示されていなかった。そこで本研究では、重回帰分析を用いて明らかにすることを目的とした。実験方法は、川村ら(2021)と同様であった。「ポイ捨てのしやすさ」を従属変数、「辟易」「敬意」「世間の目」を独立変数として、ステップワイズ法による重回帰分析を行った結果、「辟易」と「世間の目」が「ポイ捨てのしやすさ」に関連していることが明らかになった。特に「辟易」の影響が強く、ポイ捨てのしやすさとの間に正の影響が見られ、「世間の目」においては負の影響が見られた(y=1.305+0.121x1-0.042x2)。本研究の問題点として、調整済み決定係数の値が低いため、今後も検討の余地がある(調整済R2乗 = 0.095)。

著者

青木 然 中野 陽子 平尾 直樹 久保庭 萌

出版者

全史料協関東部会

雑誌

アーキビスト : 全史料協関東部会会報 (ISSN:09119558)

巻号頁・発行日

no.95, pp.9-25, 2021-03

著者

青木 然

出版者

全史料協関東部会

雑誌

アーキビスト : 全史料協関東部会会報 (ISSN:09119558)

巻号頁・発行日

no.93, pp.22-24, 2020-03

著者

青木 然

出版者

地方史研究協議会

雑誌

地方史研究 (ISSN:05777542)

巻号頁・発行日

vol.69, no.6, pp.60-63, 2019-12

著者

青木 然

出版者

日本アーカイブズ学会

雑誌

アーカイブズ学研究 (ISSN:1349578X)

巻号頁・発行日

no.24, pp.124-128, 2016-06

著者

青木 然

出版者

日本アーカイブズ学会

雑誌

アーカイブズ学研究 (ISSN:1349578X)

巻号頁・発行日

vol.24, pp.124-128, 2016

著者

青木 然

出版者

公益財団法人史学会

雑誌

史學雜誌 (ISSN:00182478)

巻号頁・発行日

vol.123, no.11, pp.1929-1968, 2014-11-20

---

This article studies the perceptions of Korea and China among the people in Japan during the latter part of the 19th century. The antecedent research has explained that the people had become to transfer their own sense of inferiority to their East Asian neighbors, whose Westernization had been stagnant, and disdained them because the people's opposition to Westernization had been crushed by means of the suppression of the revolt. This interpretation ignores the contradictory situation of a nation of people unable to internally resolve their own opposition to Western culture, while looking down on other nations based on those same Western standards. In order to show the way such a contradiction was dealt with in the Japanese mass consciousness, this article takes up the popular entertainment, especially kodan (講談), the Japanese traditional storytelling, to extract the Japanese people's understanding of Western culture and their hopes represented by the images of Korea and China on a deeper level than what was expressed in rebellion. In presenting the evidence, the author attempts to clarify the features of narrative of the popular entertainment in order to interpret its depiction of Korea and China in terms of popular understanding by focusing on the mentality of popular entertainment, as well as the changes of national entertainment policy, trends and social contexts. In concrete terms, the author identifies two conflicting types of narration in popular entertainment at the time: the satirical style that originated on the urban scene during the late Edo period and the oratorical style, which first appeared during the 1880s, against a backdrop of increasing migration from the countryside into the cities. In the performances taking up such events of the early 1880s as the Imo Incident (July 1882) in Seoul, Korea and the Sino-French War (1884-85), we find satirical narrative showed its twisted sympathies with "obstinateness" of the forces of resistance in both countries and ridiculing the shallow Westernized behavior of the Japanese people. On the other hand, when dealing with the 1st Sino-Japanese War, the oratorical style pours invective and abuse upon the Chinese, while the satirical performances objectified them and counteract with words of sympathy for the Koreans and Chinese. In the presence of such conflicting narrative styles, the Japanese people became aware of Korea and China not only as scapegoats for its own oppression, but also as a means of escaping from the constant anxiety of being confined within the limits of the Western code of civilized behavior. However, the difficulty in confronting the fallacy of its civilized self-image became expressed in the Japanese people's hesitation to empathize with its Korean and Chinese counterparts. Such a way of adopting Western civilization, which skillfully grants dispensation from self-denial, can be called, in the opinion of the author, one of the "privileges" accorded the masses living under imperial rule.