著者

松尾 剛次

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = BULLETIN OF YAMAGATA UNIVERSITY. HUMANITIES (ISSN:05134641)

巻号頁・発行日

vol.20, no.1, pp.1-24, 2022-02-28

著者

松尾 剛次

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = BULLETIN OF YAMAGATA UNIVERSITY. HUMANITIES (ISSN:05134641)

巻号頁・発行日

vol.20, no.2, pp.78-65, 2023-02-28

著者

松尾 剛次

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = BULLETIN OF YAMAGATA UNIVERSITY. HUMANITES (ISSN:05134641)

巻号頁・発行日

vol.19, no.3, pp.1-22, 2020-02-28

著者

清塚 邦彦 キヨズカ クニヒコ Kiyozuka Kunihiko

出版者

山形大学

雑誌

山形大學紀要. 人文科學 (ISSN:05134641)

巻号頁・発行日

vol.15, no.2, pp.19-50(302-271), 2003-02-17

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In a series of papers, Kendall L. Walton argued that photographs are like mirrors, glasses, telescopes and microscopes, in that they function as "aids to vision" and that, in this respect, they are sharply contrasted with hand-made pictures, such as drawings and paintings. Walton expressed this point by saying that photographs are "transparent pictures" while hand-made pictures are not. This I call "transparency thesis". This is an elaborated form of a widely held opinion that photographs are intrinsically realistic because of their mechanical origin. In this paper, I examine objections raised against Walton's thesis and argue that the thesis is still a promising hypothesis about the nature of photographs as well as the concept of perception in general.

著者

池田 和浩 澤邉 裕子 安井 朱美 西浦 和樹

出版者

山形大学

雑誌

山形大學紀要. 人文科學 (ISSN:05134641)

巻号頁・発行日

vol.17, no.2, pp.170-158, 2011-02-15

被引用文献数

1

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This study investigated the effect of the reduction in psychological stress caused by using a brainstorming card game. The card game was developed for this experiment by some psychologists and business scholars. Twenty undergraduate students rated scales of desire for control and response to stress. After the rating, participants were asked to provide concrete ideas for saving money in three sessions by used the brainstorming card game. Each session was completed in fifteen minutes. The participants rated the scales of response to stress and cognitive coping strategies after each session. They were asked to rate the response to stress again after the brainstorming game. The results revealed that the feelings of depression and anxiety in participants decreased in every session of the brainstorming game, and they maintained their concentration and psychological efforts for divergent thinking. Additionally, they adopted more positive than negative cognitive coping strategies for the ideas of others. This suggests that the brainstorming card game helped in declining psychological stress and encouraged mental focus on the process of thinking for brainstorming.

著者

阿部 宏慈

出版者

山形大学

雑誌

山形大學紀要. 人文科學 (ISSN:05134641)

巻号頁・発行日

vol.15, no.4, pp.103-134(216-185), 2005-02-15

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La difficulte de la problematique de la representation dans les films documentaires consiste a l'ambiguiite du statut du《reel》des faits (re-) presentes. Les films documentaires, en tant qu'un regime de re-presentation figurative, ne presentent pas des faits《reels》《tels qu'ils sont》. Ils ne presentent que des faits filmes, c'est-a-dire du passe represente au present. Le statut du《reel》bascule entre la《realite》du passe et la 《realite》de l'actuel. D'ou la necessite de reconstituer le passe par des decoupages, des montages, et parfois par la 《mise en scene》souvent condamnee comme《factice 》. Ce refus de la《mise en scene》, ce besoin de la《fidelite》au《reel》constitue cependant une particularite singuliere du genre《documentaire》. C'est un pacte qui implique et l'auteur et le spectateur dans le jeu de《sincerite》et de《responsabilite》a la realite representee. L'approche proposee ici, a travers une analyse des deux films documentaires de Rithy Panh, se structure autour de la question du《reel》en face de la reconstitution mnemonique. Dans ces films, l'《actuel》ne peut pas se presenter sans evoquer le《passe》. Le《reel》de l'actuel est toujours conceme par la《realite》du passe: la memoire du genocide. L'auteur doit travailler, cependant, avec la conscience de l'impossibilite de representer cet evenement dans sa totalite absolue. D'ou le choix de l'auteur comme methode: ecouter les temoignages (du passe) et rester lui-meme un temoin de ce qui se passe (au present) dans la situation qu'il a creee (confrontation des《bourreaux》avec les victimes).

著者

千葉 清史

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = BULLETIN OF YAMAGATA UNIVERSITY. HUMANITES (ISSN:05134641)

巻号頁・発行日

vol.18, no.3, pp.15-29, 2016-02-15

著者

清塚 邦彦

出版者

山形大学

雑誌

山形大學紀要. 人文科學 (ISSN:05134641)

巻号頁・発行日

vol.14, no.2, pp.37-67, 1999-01-29

著者

阿部 宏慈

出版者

山形大学

雑誌

山形大學紀要. 人文科學 (ISSN:05134641)

巻号頁・発行日

vol.15, no.2, pp.63-86(258-235), 2003-02-17

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Les films documentaires qubn considere souvent comme un rassemblement des images directes de la > actuelle, sont aussi caracterises par une particularite diegetique et narrative. Du point de vue semiologique, on peut constater que la stmcture narrative des films documentaires est surtout fondee sur la coincidence apparente (idealement supposee) de la diergese avec le > comme une thematisation (Levinas) du monde dit > . D' ou la position centrale qu'y occupe le cineaste comme > autour duquel s'organise la diegese filmique. Quand cet observateur-temoin devient l'oblet central du film, avec son exploration du passe a travers ses experiences persomelles, le monde intime du cineaste se transforme en un champ d'investigation particuliere. Il devient pour lui une occasion pour se demander sur le statut du reel represente en son rapport avec l'essence qui reste irrepresentable. Ce present article a pour but d'eclaircir le rapport entre le regime narratif et la representation du monde > dans les films documentaires, a partir d'un film experimental du cineaste americain Jonas Mekas. Ce film qui semble recomposer des souvenirs d'un refugie politique a l'occasion de son retour a son pays natal apres 25 ans d'absence, passant par l'histoire de sa vie intime du debut de sa carriere cinematographique, nous offre pourtant un excellent exemple de la reflexion sur le rapport entre la memoire et la representaion dans un film documentaire. Dans ce film, les informations langagieres (narration, titres) qui viennent definir les objets filmes se heurtent a la qualite indefinissable des images, coupees et decoupees pour ne pas laisser determiner et nommer leurs objets. Les efforts pour retrouver l'identite perdue de l'auteur s'avereront aussi inutiles en face de l'irrepresentabilite du passe. Avec ces images dechirees et fragmentees, le cineaste pourtant reussit a nous presenter une vision du monde sans la soumettre a la violence de thematisation. Cette vision reste cependant loin d'eetre une restitution narrative de l'experience. Elle nous fait entrevoir l'existence de ce qui est impossible a representer et de ce fait nous invite a nous interroger sur le droit de regard et de langage cinematographique devant la singularite de l'experience vecue. Car, dans les films documentaires, > est avant tout une necessite ethique.

著者

佐藤 清人

出版者

山形大学

雑誌

山形大学紀要 人文科学 (ISSN:05134641)

巻号頁・発行日

vol.15, no.2, pp.198-185, 2003-02

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'Picture Brides' are issei women who went over to the United States to marry husbands they knew only from photographs. The picture marriage was a convenient way for issei men to marry and raise families in their settled land, for it spared them the cost and trouble of retuming to Japan. Though a variation of Japanese traditional marriage customs, the picture marriages were attacked by the exclusionists as proof of Japanese immorality and savagery and were bamed by the Japanese govemment afterward. Now, the picture brides often found that the men they had just married were enormously different from the photos they had seen. The men often sent photographs of their younger selves or even someone else. They also often exaggerated their personal lives in America, claiming to be hotel owners and farmers, though they were only busboys and farmhands actually. As expected, some women refused to marry their husbands and demanded to be taken back to Japan. Others, who remained in America, left their husbands for other men in following years (kakeochi). The majority of brides, however, endured happily, improving the situation they faced. From historical point of view, the picture brides have beenbroadly classified into the two types of women:one is the doomed woman who deserted her husband and children and then had to be sublect to ostracism by the community, and the other is the blessed woman who bore her plight and helped to build the foundation of Japanese American families and communities. The actual situation around the picture brides, however, is more complicated and even contradicted. In her novel Picture Bride, Yoshiko Uchida resists such simplification of images of picture brides. Hana Omiya, one of picture brides and heroin of the novel, marries Taro Takeda. In their first encounter, she is shocked that her husband looks older than his photo. Before long she comes to love Kiyoshi Yamaka, a friend of Taro, who is younger and more amiable than her husband. Although Taro suspects his wife' s love affair, Hana dispenses with elopement by the abrupt death of Yamaka. After that, she becomes an obedient wife to Taro by helping him keep his pride but she can not fully enjoy a happy life of housewife, for he never forgives her for loving other man. The movie Picture Bride, directed and scripted by Kayo Hatta, represents an idealized version of picture marriage. Riyo, agirl of 16, marries Matsuji, who is 43, of almost the age of her father. The age difference between them causes her to demand to return to Japan. Living together, Riyo begins to show affection for Matsuji and at last they are united both spiritually and physically. The story of the movie is excessively idealized and beautified, wanting actual reality. But we find a distinct feature in the heroin's career that has been seldom recognized in most of picture brides. Riyo had a secret that her parents both had died of tuberculosis that was thought of as a hereditary disease at that time. It is a new discovery that picture bride herself may have deceived her future spouse. Riyo is never stereotyped as a picture bride.

著者

門脇 俊介

出版者

山形大学

雑誌

山形大學紀要. 人文科學 (ISSN:05134641)

巻号頁・発行日

vol.11, no.2, pp.37-60, 1987-01-20

著者

清塚 邦彦

出版者

山形大学

雑誌

山形大学紀要 人文科学 (ISSN:05134641)

巻号頁・発行日

vol.15, no.1, pp.268-235, 2002-02

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This paper is a sketch for the philosophical theory of pictorial representation. After introducing the theme of pictorial representation, I shall divide my arguments into two parts. The first part (sec.2-4) contains a series of critiques against "eliminativist" theories of pictorial representation. By "eliminativism" I mean those theories which do not recognize the factuality of perception peculiar to pictures at face value. I criticize three theories in particular as specimens of eliminativism: Illusion theory, resemblance theory and convention theory (or semiotic theory). In the second part (sec.5-6), I give an outline of an anti-elimitativist theory of pictorial representation. The theory insists on two points, each of which forms, respectively, a "natural" and an "artificial" aspect of the concept of pictorial representation. The first point is that picture perception (perception of images in pictures) is grounded on the twofold operation of the natural abilities of perceptual recognition at a subpersonal level. When we see a picture of a horse, the fact of our looking at the picture triggers, at a sub-personal level, not only the perceptual ability to recognize a plain surface but also the perceptual ability to recognize a horse. As a result, we get a twofold visual experience: what we see is a plain surface of course, but in seeing it, we cannot but have an impression that it is as if we were looking at a horse. This kind of experience is not to be dismissed as mere illusion. It is a natural and normal product of our senses. The second point is that in order that images in pictures get peculiarly representational character, they must be combined with what R.Wollheim called "standard of correctness". When we see a natural object (say, a stump in the woods) that happens to look like a bear, we do not say that it "represents" a bear. It can only be said to "look like" a bear. But when we see a bear in a picture, we not only say it looks like a bear, but also say that it is, or "represents", a bear. And, if someone says that it represents something else, we think that at least either of us must be wrong. Judgements about the representational content of a picture obeys a certain standard which dictates that some judgements are correct and others not. Elucidation of the nature of such standards of correctness forms another essential part of the theory of pictorial representation.

著者

小島 俊夫

出版者

山形大学

雑誌

山形大学紀要 人文科学 (ISSN:05134641)

巻号頁・発行日

vol.6, no.4, pp.1-18, 1969-01

著者

加藤 健司

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = BULLETIN OF YAMAGATA UNIVERSITY. HUMANITES (ISSN:05134641)

巻号頁・発行日

vol.18, no.3, pp.123-137, 2016-02-15

著者

宇津 まり子

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = BULLETIN OF YAMAGATA UNIVERSITY. HUMANITES (ISSN:05134641)

巻号頁・発行日

vol.19, no.2, pp.15-26, 2019-02-28

著者

千葉 清史

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = BULLETIN OF YAMAGATA UNIVERSITY. HUMANITES (ISSN:05134641)

巻号頁・発行日

vol.18, no.3, pp.15-29, 2016-02-15

著者

奥村 淳

出版者

山形大学

雑誌

山形大学紀要 人文科学 (ISSN:05134641)

巻号頁・発行日

vol.15, no.4, pp.288-259, 2005-02

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Hier wird versucht, wie Dazai Osamu fur seine Novelle "RomanTourou (RomanenLateme)" sowohl Stoffe als auch Motive von Andersen, Grimm und Doyles Holmes genommen hat. Nach dem Dichter selbst habe er, beim Schaffen in Not geraten, von diesen Dichtem manches gestohlen. Er nannte seine Tat sogar, "bose Tat" und "Plagiat". Diese "bose Tat" erweckte in ihm vielleicht Gewissensangst. In der Novelle "RomanTourou" spielen ein Madchen und ein Prinz Hauptrolle. Dieses Madchen heisst Rapunzel. Sie begenet einem Prinzen und fallt in Liebe. Das ist auch der Fall des Prinzen. Dazai hat auch die Zauberin des Grimms Marchen "Rapunzel" nicht vergessen. Also hat der Dichter Personen und Handlungen von Grimms Marchen entliehen. Aber dass Dazais Rapunzel so wild und aktiv charakterisiert ist, gibt den Lesern den anderen Eindruck. Denn Grimms Rapunzel ist so altmodisch frauenhaft, dass sie zur Zeit die Anhanger der Frauenemanzipation irritert. Dazai hat fur seine Novelle auch Andersens Kunstmarchen "Schneekonigin" benutzt. In diesem Marchen tritt vor die Leser ein wildes Madchen "Madchen des Banditen". Sie spielt keine Hauptrolle. Nebenperson konnte man diese Hummel nennen. Sie ist frank und frei. Sie ist sehr wild. Was sie dem Prinzen sagt, sagt auch Dazais Madchen Rapunzel. Die Haltung des Banditenmadchens gegen Vogeln und ein Rentier erinnert die Leser an Dazais Rapunzel. Das Renntier bei Andersen zeigt sich bei Dazai als Reh. Beide Tiere tragen denselben Namen. Dazai hat aus beiden Madchen ein neues Frauenbild gestaltet und damit seine Sehnsucht nach etwas Hoherem gezeigt. Man darf nicht Dazais Tat als "Plagiat" bezeichnen. Dieses hohe Wesen ordnet die Weltengange an, in der Weise, wie sie unserern Erwartungen nicht entgegenlaufen. Dies soll besonders in Marchen geschehen. Das war auch Dazais Uberzeugung, dass seine Novelle "Roman Tourou" "suss und marchenhaft" ist. Dazai hat auch Conan Doyles "Sherlock Holmes" benutzt. Es ist zu betonen, dass die Konstruktion von Dazais Novelle dieselbe von "Holmes" ist. In "Holmes" macht Watson Schreiberrolle und erzahlt den Lesem ein Verbrechen, dessen Ratsel Holmes gelost hat. In Dazais Novelle spielt dieselbe Rolle der Dichter selbst und Familie Iries funf Geschwister erzahlen Reihen nach die Geschichte des Madchens Rapunzel.

著者

小熊 正久

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = BULLETIN OF YAMAGATA UNIVERSITY. HUMANITES (ISSN:05134641)

巻号頁・発行日

vol.18, no.4, pp.1-21, 2017-02-15

著者

小熊 正久

出版者

山形大学

雑誌

山形大學紀要. 人文科學 (ISSN:05134641)

巻号頁・発行日

vol.17, no.3, pp.1-23, 2012-02-15

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In der Analytik der Intentionalitat, hat Husserl zwei Momente von der "Vorstellung" geschieden, d.h. "Empfindungsdaten" und "Auffassung". Empfindungsdaten fungieren als "Abschattungen" in der "ausseren Wahrnehmung". Und sie sind gegeben in der phanomenologischen Reflexion. Aber, was fur eine Beziehung besteht zwischen diesen Momenten in der Wahrnehmung ? Diese Abhandlung versucht, Natur und Funktion von der "Abschattung" als dem Medium der Wahrnehmung zu erklaren, nach den Husserls Analysen in Ding und Raum 1907 und Einfuhlung in die Phanomenologie der Erkenntnis 1909 . Und dabei besondere Achtung wird gegeben auf die raumlichen und zeitlichen Momente von der Abschattung . Dafur mussen wir folgende Sachen betrachten : 1. Phanomenologische Methode und Analyse der Wahrnehmung 1) Transzendenz des Wahrgenommenen vom Bewusstsein und Phanomenologische Reduktion 2) Leibhaftikeit und Wirklichkeit des Wahrgenommenen 3) Immanente Wahrnehmung und Transzendente Wahrnehmung 4) Entsprechung von der Empfindungsdaten und der gegenstandlichen Qualitaten 2. Der Begriff der Abschattung 3. Die Raumliche Extension der Abschattung und das Feld der Wahrnehmung 4. Die Zeitliche Extension der Abschattung und das innere Zeitbewustsein 5. Probleme der phanomenologischen Reflexion Das Ergebnis dieser Studie ist folgendes: "Abschattung" kann als "Medium" der Wahrnehmug fungieren, wenn sie einerseits raumlich in dem Feld der Wahrnehmung , andererseits zeitlich in dem System der Retentionen etc. gegeben sind.

著者

長井 政太郎 工藤 定雄

出版者

山形大学

雑誌

山形大學紀要. 人文科學 (ISSN:05134641)

巻号頁・発行日

vol.1, no.4, pp.413-448, 1951-08-31