著者

橋内 武 Takeshi Hashiuchi 桃山学院大学国際教養学部

出版者

桃山学院大学総合研究所

雑誌

国際文化論集 = INTERCULTURAL STUDIES (ISSN:09170219)

巻号頁・発行日

no.43, pp.51-70, 2010-12-24

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This paper seeks to elucidate the recent language policies of the European Union and the Council of Europe. The European Union was founded upon the reconciliation between West Germany and France after World War II, while the Council of Europe has also been searching for world peace with human rights and good communication between nations. With its six member states, the European Economic Community recognized four official languages. As it developed with additional member states, the European Community, later renamed European Union, increased its official languages. The European Union now maintains its multilingual policy: it consists of 27 member states with 23 official languages. Some states have regional, co-official languages recognized by the European Commission. Both translation and interpretation are big official business in EU institutions such as the European Commission, the European Council, the European Parliament, and the European Court of Justice. Moreover, the EU supports multilingualism in education, cultural exchange, and labor migration. Its language education policy has been influenced by the proposals made by the Council of Europe. The Council of Europe has developed its language education policy in three stages : (1) The Threshold Level provided a functional basis for language learning. It led to notional syllabus and the communicative approach to language teaching. (2) With its can-do statements, the Common European Framework for Reference of Languages is a new model for describing and scaling language use and the different kinds of knowledge and skills required. (3) The most recent development is the emphasis on intercultural citizenship and the proposal of a new paradigm named Platform: all education and human development must be based on language. In short, the European Union is a multilingual supranational agency, which now encourages intercultural citizenship and a command of both "plurilingualism" and "pluriculturalism"- terms recently coined by the Council of Europe's Language Policy Division.

著者

トニー オーガード 橋内 武 Tony Augarde Takeshi Hashiuchi

雑誌

国際文化論集 = INTERCULTURAL STUDIES (ISSN:09170219)

巻号頁・発行日

no.2, pp.103-140, 1990-08-30

著者

橋内 武 Takeshi Hashiuchi 桃山学院大学国際教養学部

雑誌

桃山学院大学社会学論集 = ST. ANDREW'S UNIVERSITY SOCIOLOGICAL REVIEW (ISSN:02876647)

巻号頁・発行日

vol.44, no.2, pp.337-352, 2011-03-28

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Tono-Monogatari, The Legends of Tono, is a collection of 119 folk narratives specific to the remote town of Tono and its neighboring villages of Iwate Prefecture. This paper is an attempt to answer the two questions: 1)How did the humble yet influential publication come about? 2)How did it grow to be a modern classic and to make Tono a pilgrimage site for folklore lovers? Tono-Monogatari is the first Japanese challenge to publish the oral tradition in book form. Actually, there were three people closely linked to this publication. Various forms of narratives were told by Kizen Sasaki, a young country man from Tono to Kunio Yanagita in Tokyo in 1908. These two men met for the first time by the introduction of Yoshu Mizuno, a young thriving writer living at the same boarding house with Sasaki. Mizuno was a ghost story lover, Sasaki was a great folk story teller himself, and Yanagita, public servant and writer, was a very attentive listener eager to dictate what Sasaki told. Then Yanagita travelled to Tono in August, 1909, to observe the setting of stories told. The result is the Tono-Monogatari, first printed and published privately for 350 copies. Thus this little book was known only among the restricted group of literary men and scholars until 1935 when there appeared its second, expanded version with enormous success. However, Tono has been a sleepy country town for a long time until 1970s, when the National Sport Games Soccer Venue and the Annual Convention of Japan Folklore Society were held. Since then there has been built such institutions as Tono City Library, Tono Folk Museum, an outdoor museum called Denshooken, and a folktale theater named Mukashi-banashi-mura. In 2010 Tono celebrated a hundred anniversary of Tono-Monogatari, with such exciting local events as the renewal opening of Tono Folk Museum, a centenary performance of folk drama, and 2010 Tono Seminar focused on this modern classic. Today Tono-Monogatari is still well read and provides the city identity to Tono, which remains to be a destination for Japanese folklore lovers.