著者

SHIMIZU Akiko

出版者

国際基督教大学ジェンダー研究センター

雑誌

Gender and Sexuality (ISSN:18804764)

巻号頁・発行日

no.15, pp.59-66, 2020-03-31

著者

グアリーニ レティツィア

出版者

国際基督教大学ジェンダー研究センター

雑誌

Gender and Sexuality (ISSN:18804764)

巻号頁・発行日

no.13, pp.111-136, 2018-03-31

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Yu Miri made her debut in 1988 and 1994 as a playwright and a novelistrespectively. Since her career started with Fish Festival (Sakana no matsuri),awarded the prestigious Kishida Prize for Drama (Kishida Kunio Gikyokushō) in1993, and Family Cinema (Kazoku cinema), awarded the Akutagawa Prize in 1997,Yu Miri wrote extensively about the family. Both in her fiction and non-fictionworks she has described the collapse and rebirth of the modern family, exploringthe role of the father and his relationship with the daughter. In her works she hasoften depicted daughters who are caught in between love and hate toward theirfather, and who cannot escape from his control. The family is a well-known theme in Yu Miri's work, which has been oftendiscussed. On the other hand, not much attention has been paid to thefather-daughter relationship yet. The aim of this paper is to analyze how therepresentation of the father-daughter pair has changed from Yu Miri's earlyworks until the publication of the non-fiction book Family Secret (Famirīshīkuretto) in 2010, and the way Yu Miri used literature as a tool to distanceherself from two fatherly figures who have effected her literature since herdebut: her real father, who is considered the model for many of the fathers whoappear in her early works, and Higashi Yutaka, who is considered her literaryfather by the writer herself. In this paper I will first focus on the representation of the father in Yu Miri'searly works, and I will compare it with the father-daughter relationship as it isdepicted in Family Secret. As I demonstrate in the first section of this paper,both in her early novels and essays Yu Miri has often written about dysfunctionalfamilies, focusing especially on the depiction of abusive fathers. With FamilySecret, her first nonfiction work, she has again tried to use literature as a toolto escape from the father's control, this time showing that memories, in theirreproduction of the past, are nothing more than fiction. I will then look at the "post-family" Yu has created in the tetralogy Life (Inochi),and the way this topic has been further developed in the novel After the Rainand Dreams (Ame to yume no ato ni). I will focus on the way the ideology ofthe modern family is overcome in this novel, and how the father-daughterrelationship in it depicted differs from Yu's previous works. After the Rain and Dreams is an important work also because it deals with thedeath of Yu's literary father, Higashi Yutaka, and his relationship with the writer.In the final section of this paper I will move onto an analysis of the novel Black(Kuro), showing how Yu Miri, after mourning Higashi throughout the tetralogyLife, has distanced herself from her mentor, and finally become independentfrom the power of his words.

著者

飯田 麻結

出版者

国際基督教大学ジェンダー研究センター

雑誌

Gender and sexuality : journal of Center for Gender Studies, ICU (ISSN:18804764)

巻号頁・発行日

no.11, pp.91-121, 2016

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This paper examines how the notions of affect, the national body andhomonationalism have been deployed and articulated in the aftermath ofthe London Riots that took place in August, 2011. With reference to TomWhyman's article "Beware of cupcake fascism" published on The Guardian in2014, which illustrates oppositional responses to the riots, I will investigatethe way the cultural tropes of cake and cupcake could be associated withemerging debates within feminist and queer politics. As the incidentshave brought out several structural deficiencies in terms of race, class andpoverty, it is significant to pay careful attention to the ongoing constructionof the bodies of others in contrast with the government's comprehensiverecovery scheme entangled with the declaration of the national ideal aswell as the re / production of privileged citizens. It must be stressed thatthe government insisted on mending "broken society" with a specific focuson conservative values of family and ideal Britishness regardless of rioters'varying backgrounds and causes of social oppression. Whyman's article doesnot only offer a critical insight into differential orientations towards what isdeemed a national crisis, it also reveals the rhetorical affirmation of middleclassvalues against possibilities of social change by claiming emotionalothers as the objects of "clean-up," who disturb the existent boundaries ofthe national body. Reflecting upon Sara Ahmed's influential argument ofthe stickiness between bodies and emotions, I will first attempt to unfoldthe complicated process of incorporation into the body of the nation,which is followed by an in-depth analysis of legitimate and alternativehistoricity in relation to "good-life-fantasies" and Lauren Berlant's conceptof "cruel optimism" that the nation promises as a normative condition ofeveryday lives, which is, however, suspended for the maintenance of the future. The arbitrary appropriation of the imagined past for a better futurethen secures the national ideal, while it inevitably bears a historical burdensuch as the privilege of whiteness and the liberal-bourgeois subjecthood.In addition, the metaphors attached to the objects of consumption willfurther be discussed with regard to homonationalism defined by Jasbir K.Puar, in that the rioters' bodies marked as others are meticulously expelledfrom neoliberal political economy behind the logic of social progress. Theriots bring to the fore the intersection of affective politics, queer alternativehistoriography and the rise of homonationalism against universalising andidealising narratives deployed by the nation in the face of a crisis, whoseunderlying imperative may sound surprisingly familiar.

著者

ALZATE Juliana Buriticá

出版者

国際基督教大学ジェンダー研究センター

雑誌

Gender and Sexuality (ISSN:18804764)

巻号頁・発行日

no.10, pp.133-157, 2015-03-31

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この論文は、フェミニスト障害学を通して、身体肯定と自己肯定の関連における相互信頼(interdependence)の問題について論じる。著者は「倫理の想像力」の概念に目を向けつつ、障害のある身体の経験に対して関心を持っており、このアプローチが、身体を恥じることから身体を肯定することへの文化的態度の変化という提案して大きく寄与することを論じる。 相互依存に対する肯定的な視点は、身体についての肯定的なイメージと自己肯定のより高い感覚を明るみに出す。相互依存の概念は次の三つのセクションで論じる。第一のセクションでは、間主観性の概念について明らかにし、身体と自己の間に生じる断裂を修復することに焦点を当てる。第二のセクションでは互恵関係とケアの概念について論じ、自立という理想に挑む。第三のセクションでは、自らの身体を肯定することおよび自尊心の観念と照らし合わせ、相互依存の概念について論じる。 相互依存は、障害者にも健常者にも影響を与えるもので、自立と自己充足の神話を解体する鍵となる語である。フェミニズムの障害学的視点からすると、我々は自由のしるしとしての自立の概念について再検討することが推奨される。相互依存は、自らの身体を肯定することと自尊心に対する一つのアプローチとして考えられる。相互依存を受け入れることは自分の弱さを受け入れることである。 身体障害者の経験から得られる重要な教訓とは、自己受容、ケア、そして他者の受容という三者の関係性や、身体は決して単独で存在しないという事実を含んでいる。つまり、相互に信頼しあうこととは、我々が関わりあう主体としての他者のことを慮るよう我々に促すものである。他者と関わりあうという行為は、団結と互恵モデルにとって決定的なものである。ゆえに、相互依存は我々を身体肯定と自己肯定に近づける。

出版者

国際基督教大学ジェンダー研究センター

巻号頁・発行日

0000

著者

深澤 純子

出版者

国際基督教大学

雑誌

Gender and sexuality : journal of Center for Gender Studies, ICU (ISSN:18804764)

巻号頁・発行日

vol.1, pp.67-76, 2005

著者

FOTACHE Ioana

出版者

国際基督教大学ジェンダー研究センター

雑誌

Gender and sexuality : journal of Center for Gender Studies, ICU (ISSN:18804764)

巻号頁・発行日

no.11, pp.175-204, 2016

著者

福永 玄弥

出版者

国際基督教大学ジェンダー研究センター

雑誌

Gender and sexuality : journal of Center for Gender Studies, ICU = ジェンダー&セクシュアリティ : 国際基督教大学ジェンダー研究センタージャーナル (ISSN:18804764)

巻号頁・発行日

no.12, pp.157-182, 2017

著者

羽生 有希

出版者

国際基督教大学ジェンダー研究センター

雑誌

Gender and sexuality : journal of Center for Gender Studies, ICU (ISSN:18804764)

巻号頁・発行日

no.11, pp.149-174, 2016

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Resonating with early queer theory's motifs such as appropriation, LeeEdelman's No Future or its central theme, queer negativity, has received notonly applause but also fair criticism, and thereby occupied one of the centralpositions in recent queer theory. In response to such criticism, Edelmanclarifies that the negativity he proposes should not be equated with thesimple negation of particular political positions, and its refusal of "positiveidentity" should rather be directed to the identity principle on which ourwhole society rests. Although such a radical challenge to positive identitycannot be underestimated, we might question whether such a drive-like,amorphous queer resistance tacitly preserves or rehabilitates the positiveidentity it purports to negate. It should also be asked how, while criticizingsuch an insidious risk, we can reframe queer negativity.In order to answer these questions, this paper firstly examines thesimilarities between the argument of queer negativity and that of Frenchfeminist theory, focusing on the concept of improper subject; botharguments, relying on Lacanian psychoanalysis, insist on dis (ap) propriationof identity.After demonstrating their connection, the second section of this paperexplores the criticism offered by Gayatri C. Spivak of such insistence on thedivided subject, and, by doing so, marks the risk that the argument of queernegativity might entail. This section first considers her criticism againstJacqueline Rose. Based on Derridean affirmative deconstruction and hisuse of catachresis, Spivak proposes to understand the subjectivity of thedecentered subject not as a privileged right but as "a bind to be watched".She also warns against Rose's reduction of the difference between theontico-epistemological subject and the ethicopolitical subject. Through a reading of such criticism, this paper suggests that an argument like thatof Rose implicitly obliterates the trace of the wholly-other, which is onlynoticeable by attending to the catachresis "woman", and that it reintroducesthe sovereign subject.The latter part of the second section connects such metaphysicalarguments with the political analysis also made by Spivak. This partexplores the criticism against Foucault / Deleuze, focusing on (A) the statusof the "desire" as catachresis and (B) the inattention to the gap betweendescriptive representation and political representation, which can berespectively compared with (A') the status of the catachresis "woman" and(B') the reduction of the difference between the ontico-epistemologicalsubject and the ethicopolitical subject. The inattention to the gap betweenDarstellung and Vertrerung leads to, according to Spivak, the perpetuation ofbourgeois ideology. Functioning with that kind of ideology, the confusion ofthe desire of the empirical instance with that of the transcendental instancerehabilitates the S / subject and implicitly preserves the transparent subjectof the theorists. This paper, based on the similarities between the argumentof queer negativity and that of the French feminist theory demonstratedearlier, lastly directs the criticism on French theory offered by Spivak to theargument of queer negativity. It concludes that queer negativity is to be"watched" in order to affirm the radical negativity of the other.

著者

藤高 和輝

出版者

国際基督教大学ジェンダー研究センター

雑誌

Gender and sexuality : journal of Center for Gender Studies, ICU = ジェンダー&セクシュアリティ : 国際基督教大学ジェンダー研究センタージャーナル (ISSN:18804764)

巻号頁・発行日

no.12, pp.183-204, 2017

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Gender performativity is the most famous and influential theory in Judith Butler. It questioned the sex/ gender distinction which some feminists took for granted at that time when Gender Trouble (1990) was published. This distinction regarded sex as the natural category on the one hand, gender as the cultural expression of sex on the other hand. It means naturalizing the dualistic representation of gender. On the contrary, Butler's performative theory suggested that sex is not a natural category, but is a fiction which is constructed by repeating gender performances. Through denaturalizing gender, her theory criticizes the representation of gender/ sexual minorities as "unnatural" and "abnormal," and seeks to theorize the way to make their survival possible. This paper examines how gender performativity was theorized from the 1980s to Gender Trouble. Interestingly, her performative theory cannot be reduced to speech act theory, but it was also formed in relation to other theories; feminist/ queer theory and performance theory. Indeed, in her article "Performative Act and Gender Constitution" (1988) in which she referred to "performative" at first, Butler started from Simone de Beauvoir's text, The Second Sex, and then reread Beauvoir's idea of "gender as act" as "social performance" in performance theory. Moreover, she extended Beauvoir's argument of denaturalizing sex, referring to Gayle Rubin's study of kinship, Monique Wittig's theory of sex, and Esther Newton's analysis of Drag Queen. Thus, her performative theory is found not only in the context of speech act theory, but also in contexts of feminist/ queer theory and performance theory. From this genealogical perspective, this article seeks to rethink gender performativity.

著者

ラジャラクシュミ パルタサラティ

出版者

国際基督教大学

雑誌

Gender and sexuality : journal of Center for Gender Studies, ICU (ISSN:18804764)

巻号頁・発行日

vol.1, pp.51-66, 2005

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このペーパーではインドにおける現代に至るまでのジェンダー表象およびグローバル化の中での変化のありかたの包括的分析を行う。インドの社会実情は多文化混在性と密接に結びついており,それは地域により父権主義的なものからから女系制まで存在するジェンダー関係の現状にも反映されている。ここでは,ジェンダー観の発達および内在化に強い影響を与えた5個の要素に焦点を当てて議論したい。具体的には,インド神話体系・宗教・歴史・文学およびマスメディアを取り上げる。多面的なインド文化では,多くの対立的要素,例えば伝統とモダニティ,都市文化と地方文化、精神主義と現実主義、識字文化および非識字文化といった事柄が共存するパラドクスが見られる。他言語・他宗教・他民族・階層社会というインド社会の多様性にも関わらず,そこにある統一的アイデンティティが確実に存在しているのは,やはり文化活動の影響に負うところが大きいだろう。神話体系はインド文化にとって最も豊饒な基盤のひとつであり,現在に至るまでインド社会の精神性の根源はヒンドゥー教聖典であるプラーナの編まれた時代にある。ジェンダーによるステレオタイプや役割の発展過程の研究において,叙事詩や民話,伝説が参照される要因はここにある。インド社会内の父権的構造によって採用されてきた宗教原理や伝統についての議論は,ジェンダーによる差異化がいかに着実に男性の社会における優位性を確立し女性の生を周縁化してきたか,また寡婦殉死や持参金制度,女児殺し,寡婦や未婚婦人の蔑視,強姦をはじめとする女性に対する暴力全般などの社会悪の根源がここにあることを明らかにする。外国勢力の侵入の歴史を辿ると,紀元前325 年のギリシャによるパンジャブ地方浸入および紀元747 年のアラブ浸入,15 世紀に始まるムガール帝国による支配,イギリスによる植民地支配などによる数次にわたる男性優位性思想導入の影響を見て取ることができる。文学はそれを生んだ社会を映す鏡の役割を果たす。一般大衆向け作品に見られるジェンダー表象は男女に対するステレオタイプ化されたイメージとアイデンティティの変化を見せてくれる。過去において,そしておそらく現在においても,女性に対するイメージには両義的なものがあり,神格化されたイメージと侮蔑的で貶められたイメージが並立して見られる。男性キャラクターの描かれ方と照らし合わせるとき,現代社会における女性の地位および役割の変化の中,アイデンティティクライシスが進行しつつあることが見て取れるだろう。映画やテレビドラマ,広告や印刷メディアが男女の生活におよぼす影響は非常に大きい。映画は現在の社会の傾向を指し示す理想的なメディアである。年間製作本数の膨大さにおいてインド映画界は世界最大規模を誇る。メディアテクストの多義的な意味性に女性性の現実ではなく男性の幻想の反映を見て取るのは難しくない。娯楽映画では,男女を伝統的アイデンティティのもとに表現するため,さまざまな方策をとっている。採算性が最優先されるため,男性観客向けアピールとしてセックスと暴力に力点が置かれている。インド社会全域に浸透しているテレビも映画に影響を与えている。連続ドラマの多くは女性を中心に据えているが,否定的な側面が強調されている。そこでは女性は悪意に満ちているか,あるいは弱い人間として描かれる。広告で男性の下着からトイレ・浴室用製品にいたるまで,グラマラスな人形として女性イメージが多用されている。締めくくりとして,インド社会の精神性と文化構造の継続性および安定性が,黙々たるインド女性によって保たれてきたことを示したい。この文脈において,女性の人生は徳性の担い手として娘・妻・母としての義務と役割を果たすことにあると考えられてきた。全人格的存在としての個人が役割の枠組みから離れることは許されず,女性の多くが,既成の枠組みを超えるのではなく,その枠組みを尊厳あるものとして扱い,結果としてそれを保持してきた。しかし現在,成長と生活の場には新しい状況がある。現在女性が立っている空間はいまだかつて存在たことのない場所だ。そこには新しい指針が打ち立てられなければならない。女性が旧来の世界を脱却し,新しい世界に足を踏み入れ,新しい意味性を獲得し作り出すためには,まず自らの内面に潜む因習を乗り越える必要がある。現在の世界的および地域的状況は,女性と男性が対話に基づき,平等で幸福な人間社会を協力して築くことを行動に移す環境を整えつつある。

著者

堀真悟

出版者

国際基督教大学

雑誌

Gender and sexuality : journal of Center for Gender Studies, ICU (ISSN:18804764)

巻号頁・発行日

no.7, pp.52-69, 2012-03-31

著者

田島 悠来 タジマ ユキ

出版者

国際基督教大学ジェンダー研究センター

雑誌

Gender and sexuality : journal of Center for Gender Studies, ICU (ISSN:18804764)

巻号頁・発行日

no.8, pp.53-81, 2013

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Using men's studies,this paper will examine the images and reception of"Johnny's"in "myojo" magazine(Shuueisha).At the same time,it willdeepen the understnading of its conception through interviews with theeditor.Magazines from November 2002-October 2012,including thefront cover,reader's page and colored photographs,will be analyzed.Theresearcn focuses on finding a connection between Johnny's and thereaders,and how the relationships between Johnny's stars are depicted.Especially regarding the latter point,this essay argues that there is a connecion to the theories of Eve Sedgewick on"homosocial,homophobia,and misogyny"(1985-2001). The above leads to the conclusion that,in Myojo,Johnny's arerepresented as tne readers'love interests,so the magazine functions asthe site of a pseudo-romance between the readers and the entertainers.In addition,it seems clear that this is the editor's purpose.In themagazine,while excluding women and emphasizing the bond betweenJohnny's members,homosociality is highlighted,and further,assosiatedwith homosexuality in both discourse and symbolism.Conversely,Johnny's express their manliness through their rivalries and their highlevel of athletic ability,which constitutes an opposing image to that ofhomosexuality.In conclusion,although the magazine depictshomosocial relationships between Johnny"s members without homophobia,there is no connection to Sedgewick's theories because these relationshipsare created by a female perspective,are about aheterosexual love imagined by the editors,and occur in the limited spaceof"readers will outgrow the material sooner or later."

著者

堀内かおる

出版者

国際基督教大学

雑誌

Gender and sexuality : journal of Center for Gender Studies, ICU (ISSN:18804764)

巻号頁・発行日

vol.6, pp.79-91, 2011-03-31

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This study examines how picture books provide children with an opportunity to be aware of issues of gender and sexuality by focusing on foreign picture books dealt with a homosexual couple and their children. It explores the possibilities and limits of the works' messages concerning "the diversity of family" through analysis of images of "family" in picture books. Published in 2009, Patricia Polacco's In Our Mothers' House has gained reputation as an important work itself without being subjected to homosexual bashing. Although this reflects current changes in the public's social background and awareness, this research note demonstrates that the couple in this work is depicted in a relationship with stereotypical concepts of the family, following the conventional family norm, even though it deals with homosexual couples. The study also suggests that picture books are a medium that provides children encounters with new knowledge that can enforce the traditional norm of family.

著者

高橋すみれ

出版者

国際基督教大学

雑誌

Gender and sexuality : journal of Center for Gender Studies, ICU (ISSN:18804764)

巻号頁・発行日

vol.4, pp.17-38, 2009-03-31

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"Women's language" in fiction has been discussed in terms of its role in constructing or representing gender norms in society and culture. Research in recent years has included a re-examination of this relationship between gender norms and women's language in fiction. However, there has been little focus on the relationship between the fact that certain characters speak in "women's language" and the context surrounding their speech in the narrative structure. This paper examines the meaning and function of one female character's use of women's language in the narrative structure of a Japanese girl's comic called Raifu (Life). From a certain point in the series, the character starts to make extensive use of female-specific sentence endings that are not used in modern-day speech. If we consider the intention behind her speech in context, the use of women's language can be linked to her artful strategy of attacking the heroine. On the other hand, given her marginalized position in the story, her use of women's language identifies an important role that she has come to play in the narrative structure. With regard to the role of women's language here, it could be argued that this is a story that not only depicts solidarity among girls, but also female conflict.