著者

Nakar Eldad

出版者

三田哲學會

雑誌

哲学 (ISSN:05632099)

巻号頁・発行日

vol.117, pp.89-123, 2007-03

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特集記憶の社会学投稿論文はじめに2. 第二次世界大戦を題材とする日本のマンガ 2.1. 1950年代後半から1960年代後半まで 2.1.1. 英雄的な戦闘 : 羅憲的語り 2.1.2 プロットの構成に見られる類似点 2.1.3. 単純なプロット,可愛らしい登場人物,歴史的リアリズム 2.1.4. 悲惨な戦争 : 拒絶された語り 2.2. 1960年代後半から1970年代後半まで 2.2.1. 悲惨な戦争 : 羅憲的語り 2.2.2 プロットの構成の類似点 2.2.3. 個人の証言と女性の記憶 2.2.4. 英雄的な戦闘 : 薄れゆく語り3. 自己を映す鏡 3.1. 1945年~1954年 : 時間の隔たり 3.2. 1950年代後半から1960年代後半まで : 肯定的な過去のイメージの出現 3.3. 1960年代後半から1970年代後半まで : 忌まわしい過去の記憶4. マンガの社会的枠組As the literature on collective memory acknowledges, when individuals recall their past, their memory is a collaborative product, influenced by society, and modeled by the collective frame of the day. Collective memory, scholars agree, is substantiated through multiple forms of communication. To infer on how a certain society remembers its past, scholars, thus, take on the task of investigating various mediums and different cultural productions. In Japan, it seems, however, that scholars failed to include manga into the above comprehension. As if manga is not a medium of communication that abide by the collective memory frame of the day, whenever the issue of collective memories of World War II in Japan has been addressed-and there were ample investigations on the issue so far-only few scholars looked at Japanese manga. Responding to the above tendency, in my paper, I choose to concern myself solely with the fictional representation of WW II over the manga. I seek to put manga tales of WW II against the social environment from which I argue they draw their ideas and worldview. I apt to demonstrate that manga narration of WW II is also a reflection of the different times in which it was produced.