著者

和泉 浩 IZUMI Hiroshi

出版者

秋田大学教育文化学部

雑誌

秋田大学教育文化学部研究紀要 人文科学・社会科学 = MEMOIRS OF FACULTY OF EDUCATION AND HUMAN STUDIES AKITA UNIVERSITY HUMANITIES & SOCIAL SCIENCES (ISSN:24334979)

巻号頁・発行日

vol.74, pp.13-25, 2019-03-01

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This article reconsiders relatively recent critical arguments about Raymond Murray Schafer's concept of 'soundscape', especially the arguments of two articles: Ari Y. Kelman (2010) 'Rethinking the Soundscape: A Critical Genealogy of a Key Term in Sound Studies' and Stefan Helmreich (2010) 'Listening against Soundscapes', in order to re-explore 'rich vein of scholarship of sound' (Kelman) in the concept of soundscape.Attending 'to the invention of Schafer's idea in order to wrestle with its redefinition', Kelman criticizes Schafer's bias against noise and his confusion of sound and listening, but Kelman does not consider deeply the definition of soundscape. This article reconsiders the definition of soundscape through rethinking Schafer's explanation in The Tuning the World, Helmreich's discussions of 'soundscape', 'immersion' and 'transduction', Steven Feld's 'acoustemology', Tim Ingold's 'against soundscape', and Paul Rodaway's 'aural geography', in that it situates the concept of soundscape in developments of studies on sound. This article also makes clear the concept of soundscape is not in conflicts with 'transduction', 'acoustemology' and 'immersion', and it needs to be connected with a central and traditional problem of social theories: the relationships between the individual and the social, and depending on how to make this connection, there are possibilities to develop various conceptions of soundscapes.

著者

和泉 浩 IZUMI Hiroshi

出版者

秋田大学教育文化学部

雑誌

秋田大学教育文化学部研究紀要 人文科学・社会科学 (ISSN:1348527X)

巻号頁・発行日

vol.68, pp.31-60, 2013-03-31

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The purpose of this paper is to consider the relations between the reproduction of modern rationalized social system and its resistant, differentiating or dissimilating components through two famous authors’ two famous works of the same period. Michel de Certeau’s L’invention du quotidian: Arts de faire (published in 1980, English title: “the Practice of Everyday Life”) and Paul Willis’s Learning to Labour: How Working Class Kids get Working Class Jobs (published in 1977). In L’invention du quotidian de Certeau tries to delineate the ‘creativity’ of ‘users’ or consumers in everyday practice, who are ‘commonly assumed to be passive and guided by established rules.’ According to de Certeau, ‘users’ not only consume various products – from commodity to urban space – of modern rationalized and expansionistic technocracy and capitalism, but also bricolent(bricolage) those products in their practices of everyday life where users dissimilate or transgress the control, ‘discipline’ and plans of producers and technocrats, in which de Certeau finds out the ‘creativity’ of ‘users’ and the resistant moments with in the existing systems of dominance relationships of ‘elite’ and ‘popular culture.’ In Learning to Labour , Willis tries to identify the resistant moments in working class culture, especially ‘failed’ working class kids and their counter-school culture which oppose to authorities of school, teachers and academic carrier-based pseudo egalitarian institutions and society. He expounds on the reproductive processes of ‘working class kids get working class jobs, because of various ‘limitations’ which distort the ‘penetrations’ of working class culture which are, he thinks, ‘potential materials…for a thoroughly critical analysis of society and political action for the creation of alternatives.’ Willis situates ‘creativity’ of working class culture in their collective level of the ‘penetrations’ which exist like Freudian ‘unconsciousness’ and cannot be seized in utterance or conscious level of working class people, while de Certeau finds the creativity of resistance in everyday surface level practices like speaking, walking, cooking. This paper has scrutinized the differences between de Certeau,’s and Willis’s ideas of resistant alternative ‘creativity’ in everyday practices and popular culture, and their positions within the ‘reproduction’ of modern capitalist class society.

著者

和泉 浩 IZUMI Hiroshi

出版者

秋田大学教育文化学部

雑誌

秋田大学教育文化学部研究紀要. 人文科学・社会科学自然科学 (ISSN:1348527X)

巻号頁・発行日

vol.70, pp.9-20, 2015-03-01

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Despite the power of social capital and community resilience after disasters has been recognized, the postdisasterrecoveries and disaster mitigations after the Great East Japan Earthquake and Tsunami have still continuedto focus resources on physical infrastructures, based almost exclusively on data and knowledge of natural sciences.Against this backdrop or below the surface many sociological and ethnological studies on the Great East JapanEarthquake and Tsunami shed light on effective functioning of local communities and their social capital, or socialnetworks for the post-disaster recoveries and disaster mitigations; local community enhances individual andcommunity resilience. Some literatures point out the importance of local cultures and their traditional rituals orbuild environments and spaces of the rituals, and argue for the need for the “archive” of their memories because ofthe literally devastating effects of the Great East Japan Earthquake and Tsunami on local communities and theirmembers, but they mainly select the cultural masterpieces of local community – macro-memory or Memory ofcommunity, like museums and galleries select and collect the masterpieces of humankind. This paper theoreticallyexplores the relationships among social, collective memories, traditional rituals of local communities and socialcapital, and unveils the important functions of collective micro-memories of everyday life and social networks,which are too familiar to speak about, intentionally memorize – unspoken and pre-conscious, but one of the keyfactors for social capital and community resilience.

著者

和泉 浩 IZUMI Hiroshi

出版者

秋田大学教育文化学部

雑誌

秋田大学教育文化学部研究紀要 人文科学・社会科学 = MEMOIRS OF FACULTY OF EDUCATION AND HUMAN STUDIES AKITA UNIVERSITY HUMANITIES & SOCIAL SCIENCES (ISSN:24334979)

巻号頁・発行日

no.74, pp.13-25, 2019-03-01

---

This article reconsiders relatively recent critical arguments about Raymond Murray Schafer's concept of 'soundscape', especially the arguments of two articles: Ari Y. Kelman (2010) 'Rethinking the Soundscape: A Critical Genealogy of a Key Term in Sound Studies' and Stefan Helmreich (2010) 'Listening against Soundscapes', in order to re-explore 'rich vein of scholarship of sound' (Kelman) in the concept of soundscape.Attending 'to the invention of Schafer's idea in order to wrestle with its redefinition', Kelman criticizes Schafer's bias against noise and his confusion of sound and listening, but Kelman does not consider deeply the definition of soundscape. This article reconsiders the definition of soundscape through rethinking Schafer's explanation in The Tuning the World, Helmreich's discussions of 'soundscape', 'immersion' and 'transduction', Steven Feld's 'acoustemology', Tim Ingold's 'against soundscape', and Paul Rodaway's 'aural geography', in that it situates the concept of soundscape in developments of studies on sound. This article also makes clear the concept of soundscape is not in conflicts with 'transduction', 'acoustemology' and 'immersion', and it needs to be connected with a central and traditional problem of social theories: the relationships between the individual and the social, and depending on how to make this connection, there are possibilities to develop various conceptions of soundscapes.

著者

MORIO Atsushi MIYAMOTO Hideaki IZUMI Hiroshi HOSODA Yasuyuki FUKUCHI Yoshinosuke

雑誌

International journal of clinical oncology : official journal of the Japan Society of Clinical Oncology (ISSN:13419625)

巻号頁・発行日

vol.5, no.4, pp.247-252, 2000-08-01

参考文献数

29

被引用文献数

1

著者

和泉 浩 IZUMI Hiroshi

出版者

秋田大学教育文化学部

雑誌

秋田大学教育文化学部研究紀要. 人文科学・社会科学自然科学 (ISSN:1348527X)

巻号頁・発行日

vol.71, pp.25-36, 2016-03-01

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There has been a flurry of studies on senses, sound, hearing and listening, alongside of studies on body, inhumanities and social sciences since the early 1990s. These studies reconsider the modern visualist paradigm,hegemony of vision and modernity through excavating other senses ― hearing, touch, taste, smell ― in varioussocial, historical and cultural contexts, therefore they share aims, concepts and theoretical frameworks with postmodernism,post-structuralism, gender studies, queer studies, post-colonialism, spatial-turn. This paper outlines thesociological perspective on relationships between senses and society, sees viewpoints of recent studies on senses,especially sound studies in a sociological light, and sheds light on the problems relating to ‘alternative’ ways ofthinking and ‘reflexivity’ ― positioning and accounting for own positions and questions ― which is insisted as animportant point of sensuous scholarship and sound studies. Including this abstract, studies on senses are obsessedwith visualist concepts and metaphors, and ‘alternative’ ways of thinking and ‘reflexivity’ should confront thisthorny problem which might not be solved by constructivism, contextualism and thought of ‘in-betweenness’which apparently deny dualisms. This paper also points out that sound studies must take seriously Judith Butler’sassertion: ‘It would make no sense to define gender as the cultural interpretation of sex, if sex itself is a genderedcategory’, in order to reconsider dualisms; nature and society, sound and auditory culture, body (matter) andsociety, and sound studies should reflect its naturalistic name.

著者

和泉 浩 IZUMI Hiroshi

出版者

秋田大学教育文化学部

雑誌

秋田大学教育文化学部研究紀要 人文科学・社会科学 = Memoirs of Faculty of Education and Human Studies, Akita University. The humanities & the social sciences (ISSN:24334979)

巻号頁・発行日

vol.73, pp.11-21, 2018-02-23

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The purpose of this paper is to consider Tim Ingold’s four objections to the concept of The purpose of this paper is to consider Tim Ingold’s four objections to the concept of soundscape, in order to reconsider the concept of soundscape in relation to the concepts of light, sound, landscape, related to sound studies, study of visual culture and auditory culture. Ingold thinks ‘the concept of sound scape would be better abandoned’ based on the four reasons. This paper points out six problems with Ingold’s objections. (1) Ingold defines sound as ‘I can hear’ depending on Maurice Merleau-Ponty’s phenomenology and he also situates sound as ‘medium’, but he does not explain the relationship between Merleau-Ponty’s ‘il y a’ and James Gibson’s ‘medium’. ‘il y a’ and ‘medium’ are different. (2) Phenomenological existential conditions are fundamental in a sense, but cultural, social and historical contexts or conditions of sound, light and ontology should be considered. (3) Sound and light have different aspects. (4) His strong nostalgia for nature and past causes narrowing experiences of sound and soundscape. (5) Although he criticizes the confusion of ‘scape’ with ‘scope’, he confuses them in his argument. (6) One can explain nothing in the pure fluxes of medium, distinctions must be made to say something.oundscape, in order to reconsider the concept of soundscape in relation to the concepts of light, sound, landscape, related to sound studies, study of visual culture and auditory culture. Ingold thinks ‘the concept of sound scape would be better abandoned’ based on the four reasons. This paper points out six problems with Ingold’s objections. (1) Ingold defines sound as ‘I can hear’ depending on Maurice Merleau-Ponty’s phenomenology and he also situates sound as ‘medium’, but he does not explain the relationship between Merleau-Ponty’s ‘il y a’ and James Gibson’s ‘medium’. ‘il y a’ and ‘medium’ are different. (2) Phenomenological existential conditions are fundamental in a sense, but cultural, social and historical contexts or conditions of sound, light and ontology should be considered. (3) Sound and light have different aspects. (4) His strong nostalgia for nature and past causes narrowing experiences of sound and soundscape. (5) Although he criticizes the confusion of ‘scape’ with ‘scope’, he confuses them in his argument. (6) One can explain nothing in the pure fluxes of medium, distinctions must be made to say something.