著者

西田 安慶

出版者

東海学園大学

雑誌

研究紀要 (ISSN:13421514)

巻号頁・発行日

pp.125-140, 1996-03-30

著者

市原 樟夫

出版者

東海学園大学

雑誌

東海学園大学研究紀要 (ISSN:13421514)

巻号頁・発行日

no.7, pp.25-36, 2002-03-31

著者

春日井 真英

出版者

東海学園大学

雑誌

研究紀要 (ISSN:13421514)

巻号頁・発行日

vol.4, pp.151-170, 1999-03-31

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It is said that there was a woman, who was named Lilith, before Eve appears in the Old Testament. This first woman was built from dust by the God at the same time as Adam was built. The woman was supposed to be Adam's nice partner, but Lilith ignored the order of the God, and she left the place, where the God prepared for them to stay. So the God had to make Adam's new partner Eve, this time from Adam's rib. One of the characteristics of Lilith was her fertility, it is said that she had many children (demons), but by refusing the order of the God to return and stay with Adam, she had to lost a hundred children in each day by the punishment of the God. And she vowed to inflict harm on infants of men. We can say that Lilith's fertility is one of the charateristics of the Great-mother, or Terra-mater, at the same time she is known as a child slayer and destroyer, on the other hand she is a catering mother to children. It is easy to illustrate her characters, but an important point is that her activities were all based on her free wish, independent to the God, also independent to man. Lilith was independent, fertile and at the same time she was a terrible mother. But this fearful character was not only Lilith's. We find the same natures in the story of Harity ([鬼子母神]Woman, who appears in the Buddhist legends) and Japanese Goddess lzanami [イザナミ]. I believe that Lilith's behavioral patterns are very important factors to think about contempolary women in this age of feminism. From this perspective, I try to extract and describe the woman figures of these days, using the poems, mainly of Miyuki Nakajima [中島みゆき]. And from her poems I come to conclude that the natures of women are not changed since Lilith or other goddesses were described. Not only contempolar women possess the same characters but these are, may be I can say, unaltered and would be reserved by the women from long long ago. If they lost or changed this Lilithness, then women would be not women at that time.

著者

渡邉 喜久

出版者

東海学園大学

雑誌

研究紀要 (ISSN:13421514)

巻号頁・発行日

vol.5, pp.57-80, 2000-03-31

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This paper is the invetigation on Transition in the Bicycle Industry Technique. It was in the beginning of the eighteenth century that the concept of the bicycle first emerged. The research is mainly on the genius of each leader and the character which he stamped on each bicycle though his innovative concepts and technology.

著者

大場 厚志

出版者

東海学園大学

雑誌

研究紀要 (ISSN:13421514)

巻号頁・発行日

vol.5, pp.125-136, 2000-03-31

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In Hawthorne s "The Artist of the Beautiful, " Owen Warland completes the butterfly which is organic as well as mechanical. The process of creation correlates with the unconscious, the operation of which is inseparable from the creativity of an artist. Owen comes to know that not the product, the butterfly, but the process of creation and the instinctive content matter for him. The narrator describes him as grown spiritually as an artist. Nevertheless Owen does not evoke our keen sympathy. And the unconscious seems to concern one of the causes. The relation between Owen and the antagonists-Peter Hovenden and Robert Danforth-proves to be correlative rather than contrary. In spite of Owen's hostility, Danforth is friendly to Owen though he has little imagination and despises Owen's spirituality and fragility. Hovenden displays his hostility only when he suspects that Owen is engaging himself in an imaginative work. In view of these circumstances, Hovenden and Danforth severally function as the "shadow" in Jungian theory. The "shadow" Is what is denied by the ego, the center of consciousness, in conscious personality. Owen projects his personal "shadow" upon the two antagonists, which, it seems to us, indicates the conflict between an artist and a society. In fact, like Owen, they are also left behind in the society with a new system for mass production. Therefore the conflict between Owen and the antagonists proves to remain the personal one (or the one in an old community) rather than the generalized one between an artist and a society. In addition, Owen's alternate repetitions of artistic desire and lethargy remind us of a puer aeternus (child archetype). Without the betterment of his relation to the "shadow " we cannot expect Owen's true independence and maturity.