文献一覧: 21856117 (ISSN) - Ceek.jp Altmetrics

97 0 0 0 OA 地政学ルネサンスを超えて : 地理学と政治学の対話 : ラウンドテーブル~『現代地政学事典』(丸善、2020 年)

著者: 高木彰彦山﨑孝史古川浩司香川雄一川久保文紀北川眞也岩下明裕
出版者: 北海道大学スラブ・ユーラシア研究センター内境界研究ユニット
雑誌: 境界研究 (ISSN:21856117)
巻号頁・発行日: vol.11, pp.55-84, 2021-03-31

13 0 0 0 OA アジテーター市川與一郎と「物語」としての尼港事件

著者: 井澗裕
出版者: 北海道大学スラブ研究センター内グローバルCOEプログラム「境界研究の拠点形成:スラブ・ユーラシアと世界」境界研究ユニット
雑誌: 境界研究 (ISSN:21856117)
巻号頁・発行日: vol.1, pp.99-119, 2014-03-01

2023-05-10 11:08:46
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13 0 0 0 初期満ソ国境紛争の発生と展開(1935-1937) : 国境委員会設置交渉から武力処理思想へ

著者: 松本和久
出版者: 北海道大学スラブ研究センター内グローバルCOEプログラム「境界研究の拠点形成: スラブ・ユーラシアと世界」
雑誌: 境界研究 = Japan border review (ISSN:21856117)
巻号頁・発行日: no.8, pp.33-53, 2018

2021-09-05 20:16:56
13 + 6 Twitter

https://ci.nii.ac.jp/naid/40021545160

11 0 0 0 OA 占守島・1945年8月

著者: 井澗裕井澗裕井澗裕
出版者: 北海道大学スラブ研究センター内グローバルCOEプログラム「境界研究の拠点形成:スラブ・ユーラシアと世界」
雑誌: 境界研究 (ISSN:21856117)
巻号頁・発行日: vol.2, pp.31-64, 2011-11-25

2023-12-01 09:52:54
11 + 26 Twitter

9 0 0 0 OA バレエと政治 : チャイコフスキー記念東京バレエ学校(1960‒1964)と冷戦期のソ連の文化外交

著者: 斎藤慶子
出版者: 北海道大学スラブ・ユーラシア研究センター内境界研究ユニット
雑誌: 境界研究 (ISSN:21856117)
巻号頁・発行日: vol.8, pp.55-88, 2018-03-30

2019-06-29 20:49:15
9 + 13 Twitter

8 0 0 0 OA 初期満ソ国境紛争の発生と展開(1935‒1937) : 国境委員会設置交渉から武力処理思想へ

著者: 松本和久
出版者: 北海道大学スラブ・ユーラシア研究センター内境界研究ユニット = Eurasia Unit for Border Reaseach (Japan)
雑誌: 境界研究 (ISSN:21856117)
巻号頁・発行日: vol.8, pp.33-54, 2018-03-30

2018-08-17 22:36:34
8 + 9 Twitter

6 0 0 0 OA 20世紀初頭のロシア文学における「男性同性愛」をめぐる言説の構成と変容 : ミハイル・クズミン『翼』から女性向け大衆小説へ

著者: 安野直
出版者: 北海道大学スラブ・ユーラシア研究センター内境界研究ユニット
雑誌: 境界研究 (ISSN:21856117)
巻号頁・発行日: vol.9, pp.17-45, 2019-03-29

This article explores the theme of same-sex love among men in Russian literature of the Silver Age by analyzing Mikhail Kuzmin’s novel Wings (1906), which is a symbolist novel, and Evdokia Nagrodskaia’s popular novels for women.The Wrath of Dionysus (1910) and At the Bronze Door (1914). During the Silver Age, numerous writers and philosophers explored the issues of gender and sexuality regardless of the tides in literature. In addition to the image of the “new woman” and androgyny, same-sex love became one of the main themes of Russian literature. Consequently, these works attracted the interest of many people because they sensationally depicted sexual themes. In the first chapter, to marshal confusing discourses and understand the context of their works, I divide the discourse of same-sex love in Russia into two paradigms.the paradigm of sexology and the paradigm of Russian philosophy of Eros. In the paradigm of sexology, same-sex love was not regarded as an action but as a specific form of identity called “homosexual.” Meanwhile, in the paradigm of Russian philosophy, same-sex love was associated with the utopian vision of “new human,” including misogyny or the notion of “people of the moonlight” that was originally used by Vasilii Rozanov. Therefore, the perception about same-sex love among people is different. Further, the second chapter reviews prior research on Wings. Previously, Wings was read as a coming out novel of a homosexual boy. However, I challenge this view because the notion of “coming out” or “homosexuality” is created by sexological paradigm that is based on identity. Notwithstanding that, in Wings, I cannot find a scene of coming out, an instance of construction of homosexual identity, or a moment of body attachment between men. Therefore, it is inappropriate to interpret Wings from the perspective of sexology. The third chapter analyzes Kuzmin’s Wings; here, I point out that some scholars claim that Wings was the first homosexual novel. However, I read this text, revealing the vision of the “new human,” the role of the body, and the meaning of “wings,” which are motifs of this work. This analysis reveals that Wings is closely related with the Russian philosophy of Eros, especially Rozanov's interpretation of the philosophy in People of the Moon Light. Kuzmin creates an aesthetical utopia in Wings, thereby rejecting the notion of sexology. The fourth chapter examines the image of same-sex love in the popular novels for women from the beginning of the 20th century, focusing on Nagrodskaia’s The Wrath of Dionysus and At the Bronze Door. Nagrodskaia is one of the most famous writers of popular novels and was inspired by Kuzmin. Her novels contained the theme of the sexology of “homosexual” people. In The Wrath of Dionysus, the protagonist’s act of coming out and explaining himself by discourses of sexology depicts homosexuality. On the other hand, in At the Bronze Door, a homosexual character plays an important role in the plot. Additionally, compared to that in Wings, Nagrodskaia clearly points out the picture of homosexual relationships. This article concludes Wings merely suggests same-sex love between men and that this type of relationship is not homosexual but rather a vague relationship experienced by men, which is a combination of fraternity and eroticism. However, other popular novels for women have explicitly represented same-sex love and portray “homosexual” people. To sum up, Kuzmin constructed the discourse of same-sex love on the basis of the Russian philosophy of Eros, and this discourse was transformed to the notion of sexology in Ngrodskaia’s works. Through this research, I rethink the primary theme in Wings and find connection between symbolism and other popular novels that were influenced by the notion of same-sex love. My research leads us to launch other queer studies that I use to pursue non-normative sexuality in Russian culture.

2023-05-21 13:48:11
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3 0 0 0 OA 地理的境界と展示活動 : ワイキキ水族館における環境と文化の展示を事例として

著者: 水谷裕佳
出版者: 北海道大学スラブ・ユーラシア研究センター内境界研究ユニット
雑誌: 境界研究 (ISSN:21856117)
巻号頁・発行日: vol.10, pp.23-43, 2020-03-31

The environment and culture were divided by the Ala Wai Canal, a geographical boundary surrounding Waikīkī in the city of Honolulu on Oʻahu Island of Hawaiʻi. In this article, I discuss how their reconnection can be enhanced by focusing on the activities of the Waikīkī Aquarium, which is part of the University of Hawaiʻi at Mānoa (UH Mānoa). Streams from Makīkī, Mānoa, and the Pālolo Valleys on Oʻahu Island used to flow into the Waikīkī area, which was originally a wetland mainly used for agriculture and Kānaka Maoli (Native Hawaiian) cultural activities. However, the construction of the Ala Wai Canal in 1927 changed the flow of water drastically. As a result, the ecosystem of the Mānoa-Pālolo Watershed and food production, symbolized by connections among taro patches, fishponds, rivers, and the ocean, disappeared from the Waikīkī area. Total restoration of the ecosystem, and cultural activities associated with it, may not be easy in current Waikīkī and the Mānoa-Pālolo Watershed, but there are activities that visualize the environmental and cultural wholeness of the watershed. Within a UH Mānoa program called Welina Mānoa, the Waikīkī Aquarium, Lyon Arboretum, Mānoa Heritage Center, and Ka Papa Loʻi ʻO Kānewai are collaborating to present the environment and the culture of the Mānoa Valley, which extends from the land to the ocean beyond the Ala Wai Canal. These institutions are all located in the watershed and present different aspects of the area. In the Lyon Arboretum, the cultural importance and traditional use of each plant in the arboretum is explained. The Mānoa Heritage Center has restored a sacred site for Kānaka Maoli in which the entire scenery of the Mānoa Valley can be observed. Ka Papa Loʻi ʻO Kānewai is a taro patch run by the Hawaiʻinuiākea (School of Hawaiian Knowledge) of UH Mānoa, which is used for educational and cultural purposes. These three facilities present the environment and culture of the land of the Mānoa-Pālolo Watershed, while the Waikīkī Aquarium presents those of the ocean. Among these four facilities, the Waikīkī Aquarium is unique in the following ways. First, although they mainly focus on the environment of the ocean, the Waikīkī Aquarium addresses the connection between the ocean and the land. In the Kānaka Maoli worldview, the land and the ocean are inseparable, which is shown in Kumulipo, the Hawaiian creation chant. Therefore, particularly in the Hawaiian context, it is important to emphasize such connections. In addition to marine creatures, the Waikīkī Aquarium exhibits plants native to Hawaiʻi and cultural information related to them. Also, their new coral exhibit, opened in 2019, aims to show the contrast of living corals underwater and pieces of coral found on land. Second, the Waikīkī Aquarium provides a space for both local residents and tourists to learn about the environment and culture of the Mānoa-Pālolo Watershed. The aquarium, which functions as a popular tourist attraction as well as an educational facility for local residents, helps local residents and tourists to collaboratively find solutions for problems caused by the segmentation of the environment and culture of the Mānoa-Pālolo Watershed. A researcher of the U.S.-Mexico borderland, Oscar J. Martínez, wrote that there are four models of interaction seen on borderlands. These are the alienated, coexisted, interdependent, and integrated models. Today, this theory is applied to various types of geographical boundaries, as well as the relationship between two groups. Activities of the Waikīkī Aquarium can be understood with this theory in the following ways. First, adding an exhibition of plants at the Waikīkī Aquarium emphasizes the connection between the land and the ocean. It helps to strengthen the collaboration among institutions in the Mānoa-Pālolo Watershed, which conduct activities related to issues on the land. As a result, it elaborates on the relationship between these institutions from the coexisting model to the interdependent model. Second, the Waikīkī Aquarium can enhance friendly relationships between tourists and local residents. In the context of the theory of Martínez, it is understood that the relationship between them would shift from the coexisting model to the interdependent model. In general, the role of today's aquariums is explained as entertainment, education, research, and environmental protection. In addition to these, activities of the Waikīkī Aquarium contribute to the revitalization of the culture of the Mānoa-Pālolo Watershed as a soft power. Historian Andrea Feeser described the development of Waikīkī as a history of suffering brought on by colonialism and capitalism, also as the local people's resistance to them. If so, activities of the Waikīkī Aquarium are peaceful trials that help overcome difficulties caused by the colonization of Waikīkī and the introduction of capitalism to the area, symbolized by the construction of the Ala Wai Canal, which divided the Mānoa-Pālolo Watershed. Academica