著者
菅瀬 晶子 Sugase Akiko スガセ アキコ
出版者
国立民族学博物館
雑誌
国立民族学博物館研究報告 (ISSN:0385180X)
巻号頁・発行日
vol.40, no.4, pp.619-652, 2016-03-31

歴史的にパレスチナと呼ばれてきた地域に建国されたユダヤ人国家イスラエルには,2 割程度のアラブ人市民が居住し,そのうち約8%をキリスト教徒が占めている。ユダヤ教徒やムスリムとは異なり,食の禁忌を持たない彼らは豚肉を食し,この地における豚肉生産・消費・流通をほぼ独占している。そのいっぽうで,豚肉食に嫌悪感を示すキリスト教徒もすくなくはない。聞き取り調査の内容からは,彼らの豚肉食嫌悪は比較的最近生じた傾向であることがわかる。そこにはムスリムやユダヤ教徒の価値観の影響もみられるが,もっとも大きな影響をおよぼしたのはイスラエルによるアラブ人市民に対する政策である。本来豚肉食は,キリスト教徒の主たる生業である農業と密接にかかわっていたが,軍政による農業の衰退や,豚肉食と密接にかかわっていた野豚猟の事実上の非合法化により,キリスト教徒の豚肉食観は大きく変化した。宗教的アイデンティティの根幹に深いかかわりを持っていた豚肉食への嫌悪感の増大は,キリスト教徒としての宗教的アイデンティティの損失をあらわしているといえる。
著者
石毛 直道
出版者
国立民族学博物館
雑誌
国立民族学博物館研究報告 (ISSN:0385180X)
巻号頁・発行日
vol.11, no.1, pp.1-41, 1986-08-25
被引用文献数
3
著者
伊東 一郎 イトウ イチロウ Ichiro Ito
出版者
国立民族学博物館
雑誌
国立民族学博物館研究報告 = Bulletin of the National Museum of Ethnology (ISSN:0385180X)
巻号頁・発行日
vol.6, no.4, pp.767-796, 1982-03-30

This article presents a comparative-historical analysis of thewerewolf belief among the Slavic peoples. It concludes by advancingthe following hypothesis: that among the Slays there existed aritual transformation into wolves by the young warriors society andthat from the 10th century, after this ritual had disappeared, it wasrecalled via folkloric and ethnographic motifs, viz: (1) the werewolfbelief connected with the cult of magician and spread chiefly amongthe Western and Eastern Slays; (2) the folkloric motif of the"Shepherd of Wolves" occurred mainly among the Southern Slays;and (3) disguising as wolves by groups of young people during theWinter Ritual, which was a characteristic chiefly of the SouthernSlavs.
著者
伊東 一郎
出版者
国立民族学博物館
雑誌
国立民族学博物館研究報告 (ISSN:0385180X)
巻号頁・発行日
vol.6, no.4, pp.767-796, 1982-03-30
著者
三尾 稔
出版者
国立民族学博物館
雑誌
国立民族学博物館研究報告 = Bulletin of the National Museum of Ethnology (ISSN:0385180X)
巻号頁・発行日
vol.41, no.3, pp.215-281, 2017

インド西部の都市ウダイプルでは,かつての支配者であるラージプートの貴族が不遇の死を遂げた後に霊となった存在サガスジーを神として崇拝する信仰が近年人気となっている。この信仰においては,聖典やそれに関する言説は重視されず,神霊の像としての現れに働きかけ,五感を通じて神格と交流するという実践こそが最重要とされる。神像は「ラージプートらしさ」を信者たちが意思を働かせあう形でこの世に具現させたものだが,像を現出させる究極的な行為主体はサガスジー本体であることが強調され,人間の意思の主体性は否定されるところにこの信仰の特性があった。しかし,中間層の信者が中心となるある社では,神像の現れに関わる信者側の個性や主体性が強調される傾向がある。この傾向はサイバー空間に現れたサガスジーにおいては一層顕著となっている。 本論文は図像優位的な神霊信仰に関わる宗教実践の特性を,神像と人,人と人の社会関係を総体的に捉える視点から解明し,その特性の変化の要因を現代インドの社会変化と関連づけて考察する。Recently, religious cults centered on Sagasjī—spirits originated from exnobleRajputs who died unfortunate deaths—have become popular among thecitizens of Udaipur in western India. Lacking any sacred texts or discourse,the cults treat religious practices as crucially important, working on theimages of the spirits and interacting with them through the corporeal senses.The images of the spirits take concrete 'Rajput-like' form through thecollaboration of followers' imaginations about 'Rajput-ness.' However, theytraditionally negate human individuality and the intention for spirits' embodimentin the images, with the supreme agency being ascribed to the spiritsthemselves. However, at one shrine for a certain spirit, where the bulk of followerscome from the urban middle class, the emphasis tends to be on thehuman intention for the materialization of the spirits. Moreover, that tendencyis even more conspicuous as the Sagasjī appears in cyberspace.This paper elucidates the characteristics of the religious practice of figurity,particularly that of spirit cults, considering the social relationshipsbetween the images and human beings as well as those among followers. Italso explores why those characteristics have changed against the backgroundof contemporary Indian social change.
著者
久保 正敏
出版者
国立民族学博物館
雑誌
国立民族学博物館研究報告 (ISSN:0385180X)
巻号頁・発行日
vol.15, no.4, pp.943-986, 1991-03-28
被引用文献数
2

This paper traces the history of Japanese popular songs fromthe viewpoint of "Travel". The historical span of the discussionis confined to the Showa era, for the following two reasons:1) The modern system of producing popular songs wasestablished at the very beginning of the Showa era;2) The distinct contrast between urban areas and the provinces,together with the social unrest in those days, motivated thetraveling and drifting of the people, and consequently broughtthe travel songs or sight-seeing songs into fashion.In this paper, travels sung in popular songs are categorizedinto three types: outward travel, homeward travel, andwandering travel. Outward travel is motivated by a yearningfor some place and can thus be viewed as future-oriented travel.Homeward travel is motivated mainly by homesickness or somememory of the past. Wandering travel is accompanied byhomesickness in many cases. The popular songs of the Showaera are reviewed according to these three types of travel.In sections 1 and 2, the themes of travel in popular songs aresummarized, and then songs whose words contain place namesor descriptions of local scenery are analyzed. It is pointed outthat changes in the ratio of the number of such songs to thenumber of all popular songs are very similar to change inpopulation drift.In sections 3, 4 and 5, popular songs are reviewed andanalyzed in regard to outward travel, homeward travel, andwandering travel respectively. The evident correlation betweenthe words in these songs and the social environment is shown.Section 6 deals with a few songs relating to spiritual travels.In section 7, changes in travel songs are reviewed froma unique analytical viewpoint. Assuming that the story of thewords of a popular song is scenarized, each song can becategorized as either a close-up type or a long-shot type interms of camera angle, according to the words depicting scenesand manners and the personal pronouns contained in the wordsof the song. Based on this idea, several genres of travel songs areparameterized and mapped on a two-dimensional space, correspondingto the camera angle of the story of the song. Theresult of the mapping shows that travel songs became more andmore of the close-up type with the passing of time, which seemsto parallel the increasing tendency of Japanese society towardprivate-life-oriented conservatism.