著者
中村 博一
出版者
文教大学大学院言語文化研究科付属言語文化研究所
雑誌
言語と文化 (ISSN:09147977)
巻号頁・発行日
no.23, pp.256-271, 2010

Ninja is said to be the ancient warrior originated in Japan. Nowadays its transnational emerging has been seen globally, even in Sokoto, northern Nigeria where I have conducted field research for Nollywood kungfu film since 2001. In this article, I trace some transnational process of ninja representation outside Japan and consider ways to transform global image into a localized ninja/ninjoji of Sokoto.
著者
中村 博一
出版者
文教大学大学院言語文化研究科付属言語文化研究所
雑誌
言語と文化 (ISSN:09147977)
巻号頁・発行日
no.23, pp.256-271, 2010

Ninja is said to be the ancient warrior originated in Japan. Nowadays its transnational emerging has been seen globally, even in Sokoto, northern Nigeria where I have conducted field research for Nollywood kungfu film since 2001. In this article, I trace some transnational process of ninja representation outside Japan and consider ways to transform global image into a localized ninja/ninjoji of Sokoto.
著者
中村 博一
出版者
文教大学大学院言語文化研究科付属言語文化研究所
雑誌
言語と文化 = Language and Culture (ISSN:09147977)
巻号頁・発行日
vol.23, pp.256-271, 2011-03-01

Ninja is said to be the ancient warrior originated in Japan. Nowadays its transnational emerging has been seen globally, even in Sokoto, northern Nigeria where I have conducted field research for Nollywood kungfu film since 2001. In this article, I trace some transnational process of ninja representation outside Japan and consider ways to transform global image into a localized ninja/ninjoji of Sokoto.
著者
中村 博一
出版者
文教大学大学院言語文化研究科付属言語文化研究所
雑誌
言語と文化 (ISSN:09147977)
巻号頁・発行日
vol.23, pp.256-271, 2011-03 (Released:2011-10-13)

Ninja is said to be the ancient warrior originated in Japan. Nowadays its transnational emerging has been seen globally, even in Sokoto, northern Nigeria where I have conducted field research for Nollywood kungfu film since 2001. In this article, I trace some transnational process of ninja representation outside Japan and consider ways to transform global image into a localized ninja/ninjoji of Sokoto.
著者
藤井 仁奈
出版者
文教大学大学院言語文化研究科付属言語文化研究所
雑誌
言語と文化 = Language and Culture (ISSN:09147977)
巻号頁・発行日
vol.24, pp.269-284, 2012-03-01

Miyoji is a main character of Tempo 12nen no Shakespeare. He is a man of the humblest birth in Edo period; he is a cunning schemer who wants to be in the ruling classes by using words. He idntifies himself as an expert wordsman just like his master who was an expert swordsman. He commits crimes just like as Macbeth: an old which woman makes a prediction about him, which controls him completely. She also tells him that his taboo is one pair of twin women. However, he fervently feels a secret love for them and at last he rapes and kills one and he married the other after killing her husband. This violation of his taboo collapses his identity: he loses his ability to use words and takes his own llife. He can't use any trick or scheme with his wife. He is a defective schemer. This kind of absurdity, which Inoue wanted to write in this play, is put together into Miyoji. I hope to analyse Miyoji's identity as an expert wordsman while showing his contradiction and insanity and suggest the absurdity coming from Inoue's satire on this modern world.
著者
大塚 明子
出版者
文教大学大学院言語文化研究科付属言語文化研究所
雑誌
言語と文化 (ISSN:09147977)
巻号頁・発行日
no.19, pp.1-32, 2006

Since the latter Meiji era, the influence of the Western romantic love ideology has flowed incessantly into our culture. However, such an imported idea has not been accepted as it is in Europe and America. Then what are the cultural characteristics of the modern Japanese outlook on love, and how have they been changed?In this paper, I examine the process of liberalization of love by analyzing some important keywords in hit songs from the prewar period to today, such as "first meeting", "forget", and "tenderness". It will be shown that our outlook on love has become considerably "romantic" since the late 1980's, as a result of the anomie of love.
著者
田口 和夫
出版者
文教大学大学院言語文化研究科付属言語文化研究所
雑誌
言語と文化 (ISSN:09147977)
巻号頁・発行日
no.14, pp.150-137, 2001

元興寺 (飛鳥寺) の鬼は『日本霊異記』の道場法師の説話に登場して以来、有名な存在である。一方、元興寺の夜叉も『日本感霊録』・『今昔物語集』などに記録され、これも有名である。この二つは後に混同され、鬼に統一されて伝説化してゆく。その説話の延長上に「元興寺 (がごぜ) に噛ませよ」という諺や武悪面を使う狂言の演出が現れる。またその鬼と加賀前田家狂言〈鬼不切〉の創作の関係について述べる。The oni of Gango Temple (or Asuka Temple) was first recorded in a Buddhist priest's moral tale in the Nihon ryoiki, thereafter becoming famous in the history of Japanese literature. The yasha of Gango Temple, recorded in both the Nihon kanreiroku and Kojaku monogatari also became famous. Later the tales of the two were combined to form the legend of The Oni of Gango Temple. Usage of the proverb Gagoze ni kamaseyo his means If you don't stop crying, the boogie-men will get you appears in the performances of the kyogen plays Shimizu and Nukegara. (Note: 'Gagoze' is an alternative pronunciation of Gango Temple.) Furthermore, Oni kirazu, a kyogen play of the Kaga Maeda family created from the oni tale, is explored.
著者
早川 治子
出版者
文教大学
雑誌
言語と文化 (ISSN:09147977)
巻号頁・発行日
vol.8, pp.92-110, 1996-02

In recent years the question has arisen, just what is an adaptable person? This is because there are so many instances in Student Teaching in which the student makes every effort to prepare a good lesson plan only to fail to do a good job in the classroom. Just what is a teacher who can react with the students in a constructive manner without merely mechanically following a lesson plan come hell or high water? What type of curriculum would best serve this purpose of creating such teachers? Is it possible even under such an ideal curriculum to create such teachers in just four years? How should we teach student teachers, those rank beginners? All of these questions must be addressed. This paper will examine these problems using the reports of student teachers who taught in New Zealand and also suggest what can be done at this point to solve these problems.ここ数年応用力のある人材とは何だろうと考える。というのは日本語教育実習生の中に教案段階で時間をかけながら、実際の教室での運用にうまく移行できない例を多々見かけるからである。クラス活動は彼らの教案通りに進行しない。なぜなら学習者も又、主体的に思考し活動するものだからである。教案どおりに操り人形のように時間を気にしながらやる授業ではなく、学習者が投げる球を受け、それを投げ返す相互的な授業のできる人間―学習者とのインターアクションのできる教師―とは何なのだろうか。またそのような人材を育成するにはどのようなカリキュラムを組めばいいのだろうか。組めたとしてもそれは4年間で可能なのだろうか。それをまた初心者である教育実習生にはどのように教えていけばいいのだろうか。問題としなければならない点は多い。 本稿では1において、ニュージーランド研修の結果報告を例にとり、実習生の抱える問題点を明らかにする。2において問題点解決のためには現段階でどのようなことができるかを考察する。
著者
阿川 修三
出版者
文教大学
雑誌
言語と文化 = Language and Culture (ISSN:09147977)
巻号頁・発行日
vol.20, pp.1-20, 2008-03-01

蒸気(joki) is the Japanese translation made by 蘭学者(Scholars of Dutch learning)in the l9th century. It spread from the birth, and formation process until established and was considered in this thesis according to material in 蘭学書(Dutch learning books) and 蘭和辞書(Dutch-Japanese dictionary). It was considered whether 英華字典(missionaries' English-Chinese dictionaries) and 漢訳洋書(foreign books translated into Chinese) had influenced the formation of the translated word 蒸気(joki) and confirmed that it was unrelated in anyway.
著者
大塚 明子
出版者
文教大学大学院言語文化研究科付属言語文化研究所
雑誌
言語と文化 (ISSN:09147977)
巻号頁・発行日
no.19, pp.1-32, 2006

Since the latter Meiji era, the influence of the Western romantic love ideology has flowed incessantly into our culture. However, such an imported idea has not been accepted as it is in Europe and America. Then what are the cultural characteristics of the modern Japanese outlook on love, and how have they been changed?In this paper, I examine the process of liberalization of love by analyzing some important keywords in hit songs from the prewar period to today, such as "first meeting", "forget", and "tenderness". It will be shown that our outlook on love has become considerably "romantic" since the late 1980's, as a result of the anomie of love.
著者
中村 博一
出版者
文教大学大学院言語文化研究科付属言語文化研究所
雑誌
言語と文化 (ISSN:09147977)
巻号頁・発行日
no.24, pp.285-303, 2011

Nollywood is one of the key issues in the contemporary African media worlds. Since 2001 I have conducted my research on video culture in Sokoto, Northern Nigeria. In this article I trace some developmental processes of popular market literature and video-movie among the Hausa-speaking people, and try to analyze kungfu video-movies produced in Sokoto, as resulting from watching Hong Kong movies for several decades.
著者
八代 隆政
出版者
文教大学言語文化研究所
雑誌
言語と文化 = Language and Culture (ISSN:09147977)
巻号頁・発行日
no.10, pp.88-124, 1998-02-01

Ahmad Nadim Qasmi (1916—) is an effective Urdu short story writer as well as a poet and a journalist in Pakistan, who has generally maintained an unblemished personal reputation. The Urdu (and Hindi) short story as it exists today is a literary phenomenon of recent origin. Its present development owes much to the inspiration of the West. The short story in Urdu originated with Premchand (1880—1936), universally considered as one of the greatest fiction writers of modern India. Premchand brought it out of the world of dreamland and fantasy and introduced to this form the living truth of human existence. He portrayed the life of the Indian peasant in Uttar Pradesh in his novels and short stories with understanding and sympathy for their poverty and suffering, their superstitions and weakness.Only two years after the creation of the Union of Soviet Writers, Marxist intellectuals in India under the leadership of Sajjad Zahir called the first All-India Progressive Writers' Conference in Lucknow on April 10, 1936. Premchand, who imbibed the spirit of socialism in his final years, presided over the Progressive Writers' Movement's first session shortly before his death in 1936.The Urdu short story in the period after 1936 branched into two different lines: the sociological story, represented by Bedi, Krishan Chandar and Qasmi; and the psychological story, dominated by themes of sex, as best seen in the writings of Manto, Ismat Chughtai and Mumtaz Mufti. After Premchand, Ahmad Nadim Qasmi emerged as one of the best short story writers in Urdu. Imtiaz Ali Taj has rightly called Qasmi the "Premchand of Punjab." As a versatile writer, Ahmad Nadim Qasmi has written extensively both in prose and verse, depicting the rural life of the Punjabi with all its romance and poverty, and touchingly capturing the grandeur of nature in contrast with the sad plight of the village dweller. His interest in rural life sprang initially from his search for romance in the rustic, but later he began depicting rural actuality in all its beauty and misery, a fact which has tended to permeate his writing with a missionary zeal. Qasmi showed a deep sympathy for the peasant folk in their misery and poverty, for he saw beneath their rags a certain dignity, worth, and regard for humanity.In this paper an attempt has been made to describe Qasmi's life, thought and the process of his self-reformation, and to evaluate the characteristics of his works in the fifteenth collection of short stories "Nila patthar" (Blue stone) published in 1980.
著者
八代 隆政
出版者
文教大学言語文化研究所
雑誌
言語と文化 = Language and Culture (ISSN:09147977)
巻号頁・発行日
vol.10, pp.88-124, 1998-02-01

Ahmad Nadim Qasmi (1916—) is an effective Urdu short story writer as well as a poet and a journalist in Pakistan, who has generally maintained an unblemished personal reputation. The Urdu (and Hindi) short story as it exists today is a literary phenomenon of recent origin. Its present development owes much to the inspiration of the West. The short story in Urdu originated with Premchand (1880—1936), universally considered as one of the greatest fiction writers of modern India. Premchand brought it out of the world of dreamland and fantasy and introduced to this form the living truth of human existence. He portrayed the life of the Indian peasant in Uttar Pradesh in his novels and short stories with understanding and sympathy for their poverty and suffering, their superstitions and weakness.Only two years after the creation of the Union of Soviet Writers, Marxist intellectuals in India under the leadership of Sajjad Zahir called the first All-India Progressive Writers' Conference in Lucknow on April 10, 1936. Premchand, who imbibed the spirit of socialism in his final years, presided over the Progressive Writers' Movement's first session shortly before his death in 1936.The Urdu short story in the period after 1936 branched into two different lines: the sociological story, represented by Bedi, Krishan Chandar and Qasmi; and the psychological story, dominated by themes of sex, as best seen in the writings of Manto, Ismat Chughtai and Mumtaz Mufti. After Premchand, Ahmad Nadim Qasmi emerged as one of the best short story writers in Urdu. Imtiaz Ali Taj has rightly called Qasmi the "Premchand of Punjab." As a versatile writer, Ahmad Nadim Qasmi has written extensively both in prose and verse, depicting the rural life of the Punjabi with all its romance and poverty, and touchingly capturing the grandeur of nature in contrast with the sad plight of the village dweller. His interest in rural life sprang initially from his search for romance in the rustic, but later he began depicting rural actuality in all its beauty and misery, a fact which has tended to permeate his writing with a missionary zeal. Qasmi showed a deep sympathy for the peasant folk in their misery and poverty, for he saw beneath their rags a certain dignity, worth, and regard for humanity.In this paper an attempt has been made to describe Qasmi's life, thought and the process of his self-reformation, and to evaluate the characteristics of his works in the fifteenth collection of short stories "Nila patthar" (Blue stone) published in 1980.
著者
鬼山 信行
出版者
文教大学
雑誌
言語と文化 = Language and Culture (ISSN:09147977)
巻号頁・発行日
vol.12, pp.23-37, 2000-03-01

Sentences like "Kodomowa netero"("A child should sleep" or "Sleep!") have third person subjects. When the sentence is uttered, one who corresponds to the description "Kodomo"(a child) is the person who can hear it. As forced not to be second person, (s)he cannot do or say something as a hearer. The speaker cannot order something in uttering the sentence, because (s)he utters it as if there were no hearer. The sentence is uttered not as command but as a recognizing. In Nitta's terminology, its modality should be called as Toihandan (should-be judgment). This modality belongs to the Nobetate (saying), which is distinguished from Hatarakikate, Hyoshutu and Toikake. Other kinds of sentences, which have third person subjects and verbs in Meireikei (ordering form) are also the Toihandan sentences. In Nitta (1991), Ganbo (desire) sentences are placed in Hyoshutu. But the sentences have no agent, and don't expect that there are hearers. So Ganbo sentences should be placed in Nobetate. Perhaps they have toihandan modality. If we put them in Nobetate, Hyoshutu sentences have first person agents only, and are contrasted clealy to Hatarakikake sentences which have second person agents.
著者
加藤 一郎
出版者
文教大学大学院言語文化研究科付属言語文化研究所
雑誌
言語と文化 = Language and Culture (ISSN:09147977)
巻号頁・発行日
vol.14, pp.48-64, 2002-03-01

En decembro 1945, la juna germanino Irma Grese(SS-Aufseherin), estis ekzekutita kiel la militokriminalino. Tio estis post nur 6 monatoj de la malvenko de Naziista Germanio kaj estis antaŭ ĉirkaŭ 1 jaro de la ekzekutoj de la pligravaj militokriminaloj. Kial oni sendis al pendigilo tiun ĉi junan germaninon, kiu estis ne grava poliskisto kaj militisto?
著者
白鳥 克弥
出版者
文教大学大学院言語文化研究科付属言語文化研究所
雑誌
言語と文化 = Language and Culture (ISSN:09147977)
巻号頁・発行日
vol.22, pp.192-172, 2010-03-01

Science Fiction novels have a lot of War novels. Particularly famous works are Robert A. Heinlein's "Starship troopers" and Joe Haldeman's "THE FOREVER WAR". "Starship Troopers" is known as a warlike novel, and "THE FOREVER WAR" is known as an antiwar novel."Starship Troopers" is a famous warlike and right wing novel, and a view of war is based on the early American ideal. The ideal has a self righteous side, and makes others inferior human, because "Starship Troopers" is a warlike novel.On the other hand, "THE FOREVER WAR" is antiwar think, because this novel has influence of the Vietnam War. Haldeman was a soldier of the Vietnam War. Probably that experience is the novel's background. He thinks human's hostility to others is a factor of wars, and at all times murder is a sin.The difference between the two novels is based in a view of others, as one side looks at the enemy as inferior humans, and the other side looks at humans as equal.
著者
李 永寧
出版者
文教大学
雑誌
言語と文化 = Language and Culture (ISSN:09147977)
巻号頁・発行日
vol.9, pp.136-146, 1997-03-01

Taking the view that the language a person uses when he or she is angry is a key to understanding that person's value system and true character, I will examine the language of abuse available to the native speaker of Chinese and show its connection to the "Chinese spirit."
著者
星野 常夫
出版者
文教大学
雑誌
言語と文化 = Language and Culture (ISSN:09147977)
巻号頁・発行日
vol.6, pp.73-80, 1993-07-01