著者

足立 賢二 ADACHI Kenji

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.81-96, 2020-03-31

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The purpose of this paper is to present information on the characteristics of traditions inherited by the schools of contemporary Kobudo (traditional martial ways) in Japan. Today, many Kobudo schools exist in Japan and around the world. As Kobudo is considered to be the origin of Budo (martial ways), contemporary Kobudo schools retain many traditional elements. In recent years, groups advocating Budo in Japan have asked the government to add an article concerning Kobudo to the Law for the Protection of Cultural Properties. However, there has been little research on the actual practices of contemporary Kobudo. In this study, we focused on the shihan (senior instructor) as a successor of tradition in contemporary Kobudo. Also, Hakko-ryu, Takenouchi-ryu Bitchuden, Shinkan-ryu, and Rikishin-ryu were selected for observation, as these four famous martial arts schools are generally regarded as the best-known schools of Kobudo. Based on our participant observation of these four Kobudo schools, we concluded that the following five points were common to each school of contemporary Kobudo: (1) Since the inheriting of tradition is greatly valued, it is essential that jikiden (private martial lessons) from the soke (head-man of the school) or todai (present head of the school) be provided to the shihan. (2) Jikiden are to be carried out by attending training and special practice sessions. (3) All shihan hold several makimono (scrolls). (4) Almost all shihan have a special name that they use when participating in martial arts. This name, called an imina or gago, selected by their master. When someone obtains a position as shihan, the master gives that person a new name based on the rules of each school. The name consists of two kanji characters, one of which is shared in common with the master’s name. (5) All shihan have mastered a secret technique specific to their school, which has been handed down over a long period. Therefore, these five features should be considered in analyses of contemporary Kobudo.

著者

藤田 祐史 FUJITA YUJI

出版者

名古屋大学大学院人文学研究科図書・編集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.1, pp.107-120, 2018-03-31

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This article examines how to use three Haikus in "Gokumon-tou(Gokumon Island)", one of Yokomizo Seishi's mystery novels. In this mystery, a detective, Kindaichi Kosuke finds the truth of the serial murders. In those cases, each of the victims are compared to Haiku. For example, Yukie, she is the middle of three sisters, is compared to Basho's Haiku "Muzan yana Kabuto no Shita no Kirigirisu (How pitiful! Under a soldier's empty helmet, a cricket sings)". Specifically, Yukie is compared to an old cricket related to white color because Basho's cricket is compared to an old soldier. Then, a big temple bell is compared to a soldier's helmet. What is this criminal doing? The criminal rediscovers the beauty of Haiku. In other words, the criminal plays with Mitate. As I have explained, Mitate is a kind of comparison, and in this paper I solve three mysteries with Kindaichi, and clarify the motive for crime. As a whole, this thesis offers a close reading "Gokumon-tou" focusing on three Haikus and the role of characters. In addition, I show the position of "Gokomon-tou" in the Japanese mystery or Japanese modern literature containing Haiku. "Gokomon-tou" is groundbreaking in these special tricks using Haiku. After this novel we find a lot of mystery writers using Haiku. Especially, Matsumoto Seicho utilize Haiku as a trick or the key to solving the mystery. Seicho knows the characteristics of modern Haiku in comparison with Seishi. He use the characteristics, namely Shasei(sketching)theory, going to famous sightseeing spots, literary coterie magazines, Haiku gathering and so on, in his novels. Then, Yokomitsu Riichi who is a contemporary of Seishi connects Basho's Haiku and Japanese fate. In contract, Seishi's Basho is released from the oppression. Seishi makes free use of Basho's Haiku, and accordingly "Gokumon-tou" becomes a watershed of Basho's Haiku for use in novels.

著者

劉 罡 LIU Gang

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.2, pp.237-250, 2019-03-31

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After World War II, about 6.6 million former Imperial Japanese soldiers and civilians were sent home by Allied forces. Especially, there were about 1 million Japanese civilians who returned from Manchuria (known as northeastern part of China) between May and October in 1946. Japanese repatriates from Manchuria were always described as war victims in postwar Japan. This article explores the making of victim discourse about them, and the possibility to overcome victim discourse. The article consists of four sections. First, previous studies at literature, history and sociology are summarized to point out that there are diverse discourse about Japanese repatriates from Manchuria. And I determine that victim discourse is the main thinking in postwar Japan. Second, from politics and media, how victim discourse about repatriates from Manchuria was constructed by aid and relief is demonstrated. In order to support my argument, I have quoted some official documents and newspaper articles which have been always describing repatriates as needy people, and thus built up the presentation that these repatriates have been rescued. As far as I am concerned, repatriates were alienated from post-war society. Also, I have focused on the national identity in postwar Japan to figure out what the relationship between national identity and victim discourse is for the repatriates from Manchuria. In this section, I have concluded that victim discourse has been integrated into national identity, and the integrating process also played an important role in restricting the narratives of repatriates. Forth, I tried to find the possibility of overcoming victim discourse. I have chosen ABE Kōbō who is called stateless novelist and one of his famous novels--- 《Beasts Head for Home》 (『Kemonotachi wa kokkyō o mezasu』). From this novel, we can see the differences of hierarchies between the metropole Japanese and their counterparts, also as Japanese, in colonies.In addition, for the victimhood of colonial, ABE resisted integrating it into national identity. In conclusion, I have summarized that the making of victim discourse about repatriation from Manchuria is not only for the purpose of national identity integration, but also constructed by repatriates themselves in postwar Japan. But during the process of constructing, there is also a resist which is a method to overcome and deconstruct it at the same time.

著者

中田 稔彬 Nakada Toshiaki

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.2, pp.157-171, 2019-03-31

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This article reviews recognition of France and French people from perspective of the historiography of late medieval Brittany. Stimulated by the argument of nationalism and ethnicity, the study of medieval historiography in Brittany shows that the formation of Breton identity traced back to medieval society. It also verifies that Celtic culture in the present Brittany has been artificially created in modern times. However, as historiography tends to deal with self-consciousness of a social community, the concept of self and others has not been discussed deeply. Since the beginning of 21st century, there has been increasing research into alterity, that is to say estranger. After all, based on the concept of self and others, scholars simply viewed estranger as those who arouse patriotism. Such a framework was also applied to recognition of France and French people, though they have had some political and cultural influence on Brittany. There was possibility of neglecting the similarity between the identities of France and Brittany. This paper thus does not define estranger as the entire alterity, but takes account of the flexibility of meaning. It deals with the terms françoys, francs and gallois written in the chronicle Les Grandes Croniques de Bretaigne, which was compiled by Alain Bouchart early in 16th century. Words are redefined according to the expanse of meaning and ambiguity. This examines how the chronicle describes the Franks, and then follows how the image of the Franks changes and connects up to françoys, who lived in the kingdom of France, in view of political context Breton War of Succession. Under the framework of the flexibility of françoys, the similarity beween France and Brittany is emphasised. The françoys and Bretons shared common cultural aspects, such as the Christian religion, the French language and Trojan-origin myths. During the Succession, the image of françoys was no longer that of the Franks, and it seemed substantial enough for contemporaries to recognise françoys. The relations between France and Brittany were regarded as siblings. The placement of the two countries into sisterly relationship plays an important role in the rhetoric. Brittany, actually annexed into France in 16th century, could exercise some privileges until 18th century. The retention of privileges in Brittany might have been attributed to the reconsideration of identity by the Breton chroniclers.

著者

原 美築 Hara Mizuki

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

no.1, pp.45-59, 2018-03-31

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This paper take up various usage in modern Japanese Mazu-mazu. And I will try to explain it. From the viewpoint of syntax, we can divide the usage of modern Japanese Mazu-mazu into four. The first one is to modify the whole sentence (A usage). The second is a usage that Mazu-mazu works as a predicate (B usage). The third is a usage modifying a noun (C usage). The fourth is a usage modifying the predicate (D usage). "Mazu-mazu" of A usage is used in two meanings. One is "to indicate that the matter described in subsequent section is taken over with priority". The other is "to indicate th at the matter to be described in subsequent section is certain". The former is an emphasis expression of the adverb Mazu. The mark of "sequence" of Mazu also exists in Mazu-mazu. Therefore, it can express "taking precedence". The latter Mazu-mazu has become slightly dilute in the meaning of "sequence" and it has become meaningful to show "indicate the thing that can be judged as the most reasonable (high certainty)". In other words, first, Mazu-mazu of A usage is based on "sequence", has a meaning to take up events of the later sentence as a priority, and the interpretation of "validity" is added to it. As a result, "Mazu-mazu" has made it possible to show that the content of subsequent sections is high in certainty. "Mazu-mazu" of B usage and C usage is to evaluate that speakers have a high degree of content for topics. For example, "physical condition is Mazu-mazu" and "showed a Mazu-mazu play "indicate that" physical condition "and" play "are good enough for the speaker to convince. It seems that " Mazu-mazu" of D usage plays a role of somewhat suppressing the degree of the word to be modified. For example, when saying "It was Mazu-mazu interesting", it seems that it is lowering the level of interest rather than saying "It was interesting." For that, Mazu-mazu of B usage and C usage has a positive meaning, Mazumazu of D usage seems to have a negative meaning. However, these are not inconsistent. Because Mazumazu is based on the meaning of "validity". B usage, C usage, D usage are all "levels that the speake r considers to be reasonable". Therefore, it can be concluded that modern Japanese Mazu-mazu has a role to show "valibity" of the topic of speakers in all usage.

著者

藤田 祐史 FUJITA YUJI

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.1, pp.107-120, 2018-03-31

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This article examines how to use three Haikus in “Gokumon-tou(Gokumon Island)”, one of Yokomizo Seishi’s mystery novels. In this mystery, a detective, Kindaichi Kosuke finds the truth of the serial murders. In those cases, each of the victims are compared to Haiku. For example, Yukie, she is the middle of three sisters, is compared to Basho’s Haiku “Muzan yana Kabuto no Shita no Kirigirisu (How pitiful! Under a soldier’s empty helmet, a cricket sings)”. Specifically, Yukie is compared to an old cricket related to white color because Basho’s cricket is compared to an old soldier. Then, a big temple bell is compared to a soldier’s helmet. What is this criminal doing? The criminal rediscovers the beauty of Haiku. In other words, the criminal plays with Mitate. As I have explained, Mitate is a kind of comparison, and in this paper I solve three mysteries with Kindaichi, and clarify the motive for crime. As a whole, this thesis offers a close reading “Gokumon-tou” focusing on three Haikus and the role of characters. In addition, I show the position of “Gokomon-tou” in the Japanese mystery or Japanese modern literature containing Haiku. “Gokomon-tou” is groundbreaking in these special tricks using Haiku. After this novel we find a lot of mystery writers using Haiku. Especially, Matsumoto Seicho utilize Haiku as a trick or the key to solving the mystery. Seicho knows the characteristics of modern Haiku in comparison with Seishi. He use the characteristics, namely Shasei(sketching)theory, going to famous sightseeing spots, literary coterie magazines, Haiku gathering and so on, in his novels. Then, Yokomitsu Riichi who is a contemporary of Seishi connects Basho’s Haiku and Japanese fate. In contract, Seishi’s Basho is released from the oppression. Seishi makes free use of Basho’s Haiku, and accordingly “Gokumon-tou” becomes a watershed of Basho’s Haiku for use in novels.

著者

柴田 龍希 SHIBATA Ryuki

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

no.3, pp.483-498, 2020-03-31

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In this paper, we analyze the phenomenon of Japanese nouns changing their meaning and becoming prefixes, focusing on the word "KUSO" and its synonyms. Prior to the analysis, we surveyed previous studies on Japanese prefixes and defined two original terms, "functional prefix" and "lexical prefix" to clearly explain Japanese prefixes. We analyzed the usage of the word "KUSO" using the two terms defined above. The results indicated that the word "KUSO" can be used as a noun and prefix, which is clarified through expansion by rhetoric. Additionally, we clarified the usage of the word "BAKA", "GOMI" and "KASU" which are the synonyms of "KUSO" indicated same expansion as "KUSO." Furthermore, we demonstrate that Japanese nouns, lexical prefixes, and functional prefixes are in a continuous relationship.

著者

クマイ 恭子 Kumai Kyoko

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.305-319, 2020-03-31

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Previous studies of Number the Stars have centered on the protagonist, Annemarie: as a story of her bravery; her crossing of the conventional border between adults and children due to the unusual situation of the German occupation and ensuing Danish activities to save Danish-Jews; or her story-telling within the story. This paper sheds lights on the other protagonists as well as Annemarie and explores the reading of the recovery processes from trauma incurred by Annemarie's father and mother, and Peter, the fiancé of her older sister, Lise. Lise and Peter were members of the Danish resistance sabotaging German assets; Lise died from being struck by a German military car when she was seen running away from a raid on a resistance meeting. Her death caused trauma symptoms in Annemarie's parents and Peter evidenced by their inability of "speaking the name, Lise." This paper regards the parents' ignorance of how Lise died as another source of trauma. Another focus of this study is how the traumatic symptoms of Annemarie, the main driving forces in the development of the story, are eased. First, this paper defines the terminologies used in the exploration: trauma, remembering, reliving, mourning. After defining the basic concepts and terms, this paper explores how these processes work in the mother, father, and Peter, with the help of Annemarie's brave acts in helping several Danish-Jews escape the Nazis, including Annemarie's best friend Ellen, serving as the double of the deceased Lise, to lead to the integration of the traumatic past; Ellen triggers the remembrance of Lise in the parents. The process of healing involves how the unspeakable death of Lise has become speakable. The paper also probes how the traumatic symptoms of Annemarie brought by the death of Lise and subsequent silence of her parents are healed. This paper distinguishes trauma from traumatic.

著者

馬 静雯 MA JINGWEN

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

no.3, pp.337-352, 2020-03-31

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In the middle of Edo period, the glossed text of Chinese vernacular novels which were added with glosses and "Left Firigana"(Aka "Sakun") were published one after another. However, many researches have discussed the problem of the glossed texts during the middle of Edo period such as the Four Books and Five Classics. But there is few researches on the glossed text of Chinese vernacular novels. Especially, there are still some unsolved problems about the feature of the glossed text of Chinese vernacular novels. The purpose of this article is to elucidate a part of the feature of the "Right Firigana"(Aka "ukun") of the glossed text of Chinese vernacular novels through consideration of the specific expression "yo"(ヨ). As a result, the appearance of the sentence-ending particle "yo"(ヨ) is closely related to the Chinese auxiliary letters "Li"(哩) and "Ye"(也) , especially "Li"(哩) in the original Chinese text. Although there are some common points on usage from the sentence-ending particle "yo"(ヨ) used in the colloquial language materials during the middle of Edo period and used in the glossed text of Chinese vernacular novels. It can be considered as there is a slight difference between each other. In other words, due to the sentence-ending particle "yo"(ヨ), the colloquial (Japanese style) at that time has an influence on the reading of the Chinese vernacular novels. This is also one of the features of the "Right Firigana"(Aka "ukun") of the glossed text of Chinese vernacular novels.

著者

原田 礼帆 Harada Ayaho

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

no.3, pp.1-17, 2020-03-31

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図1-図8は都合により掲載しておりません

著者

中川 拓哉 Nakagawa Takuya

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.97-111, 2020-03-31

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The term “Kokusai Eiga” (International Film) emerged in some film magazines around 1936. It first referred to films produced to introduce “correct” images of Japan and the Japanese to Western countries, instead of images that were often exaggerated to portray an exotic and strange land. They also sought critical acclaim. The best-known international film was Atarashiki Tsuchi (New Earth), a Japanese-German co-production in 1937. Nevertheless, after opening to the public, it was criticized intensely for two reasons. First, “Japan” in the film was just as exoticized as it had been in the usual newsreels, which was exactly what Kokusai Eiga had sought to overcome. Second, Atarashiki Tsuchi was criticized for the ways in which it alluded to the 1936 Anti-Comintern Pact. The German director Arnold Funk depicted the similarity of the Japanese national character to the Nazi ideology to stress the friendly relationship between both countries. The failure of Atarashiki Tsuchi disappointed the critics, and they began to wonder if only the Japanese could understand Japan. After the start of the Second Sino-Japanese War in July 1937, the Japan government attempted to use film for propaganda purpose and asked filmmakers to express “Kokumin Seishin” (the national mind) in film. The 1938 film, Kokumin no Chikai (Holy Purpose), was a Kokusai Eiga, and may be considered a successor of Atarashiki Tsuchi. Kokumin no Chikai was an answer to the criticism of Atarashiki Tsuchi but also to the requests of the government concerning the expression of “Kokumin Seishin.” The people in the film devote themselves to their nation, suppressing their personal feelings and circumstances. This film depicted images of a loyal “nation” but at the same time missed the original purpose of Kokusai Eiga, which was to introduce characteristic images of the “Japanese” to other countries.

著者

林 順 HAYASHI Jun

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.113-128, 2020-03-31

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Tunnel tombs were ancient graves excavated into the side of the hill or cliff in the late of the tumulus period (end of the 5th AD. to the end of the 6th AD.) in Japan. They were characterized by their density, and in many cases, they made some groups in certain areas. In addition, by focusing on the group structure and the rank of the burial goods offered in each grave, it will be able to make clear various social relationships of each man who buried in each grave.This contribution aims to clarify the mortuary principle of the tunnel tombs in Shizuoka area. This means how each man was buried while taking account of the relationships in each group who built these tombs, and between groups who built other graves, that is, mounded tombs. To achieve this object, I analyzed following 2 subjects in this paper: 1) the hierarchy system inside of each groups of the tunnel tombs and 2) the relationships between the tunnel tombs and general mounded tombs which were made nearby them, while focusing on the group structure. As a result of these analyses, I could find out the excellence of Totomi area, especially Saka river basin, from the viewpoint of the clearness of the hierarchy inside of the tunnel tombs, and the superiority of them when compared to the mounded tombs. Finally, I assumed that the background of these phenomena links the way of governing system of burial ground (contains both graves) by central policy.

著者

川村 祐斗 Kawamura Masato

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.129-144, 2020-03-31

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This paper investigated the process of changing the conjunction Saraba which expressed resultative and hypothetical situation into a word of farewell used when parting. For the investigation we used two points of view, "demonstrative feature being obscure" and "having function of scene development". These are led by characteristic that the word of farewell Saraba has. By the way, Saraba had a stage of the conjunction which didn’t express resultative and hypothetical situation before it changed to the word of farewell. Saraba at the stage had "demonstrative feature which was obscure" and "the function of scene development". At first, we classified Saraba in "demonstrative feature being clear" or "demonstrative feature being obscure", and investigated the history. As a result of the investigation, there were few examples of "demonstrative feature being obscure" in the Early Middle Period, they gradually increased after the first half of the Middle Period, and a large number of the examples were seen at the end of the Middle Period. Then, we investigated how examples which will, demand expression followed Saraba changed historically and how examples which Saraba followed interjections such as Iza, Ide changed historically. As a result of the investigation, proportion of the examples which will, demand expression followed Saraba more increased in the first half of the Middle Period, and proportion of the examples which Saraba followed interjections such as Iza, Ide increased in the latter half in the Middle Period. From the above, we think "the function of scene development" expanded from the first half of the Middle Period to the latter half of the Middle Period. Furthermore, Saraba often appeared at the head of utterance. It was also on the syntactic condition that "the function of scene development" expanded. "The function of scene development" wasn’t newly acquired after examples of "demonstrative feature being obscure" began to appear but originally provided Saraba with, and it came to the front in conjunction with "demonstrative feature obscuring". Saraba lexicalized to the 17th century. Considering that, it is probable that "demonstrative feature obscuring" and "the function expansion of scene development" became most prominent at the end of the Middle Period, because of temporal consistency.

著者

吉原 万里矢 Yoshihara Mariya

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.159-170, 2020-03-31

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The image of glass architecture frequently appears in Kitazono Katue’s works of his early career. There are two characteristics of glass architecture in his works. One is that the inherently hard inorganic glass architecture floats like a soft soap bubble covered with a gelatin film. The second is that a human body that is originally organic and soft is transformed into a hard, inorganic robot by being given an image of glass. These expressions are thought to have been produced through the glass architecture of Bauhaus, which Kitazono had been strongly interested in, and the acceptance of new ballet costumes by Oscar Schlemmer and Picasso. In other words, glass plays an important role in the dematerialization or organicization of architecture, and is used as a special metaphor to obscure the boundary of inorganic/organic matter. And the unique feature of Kitazono, such as “silver solid doll” or a robot made of glass, is a metaphor that transcends inorganic matter and organic matter, glass, to the idea of Picasso. According to previous research, a new relationship was established between the huge inorganic object of architecture and the observing subject looking at it in the early Sho wa poet. The expression of the human body that transforms into glass architecture in the poetry of Kitazono is also a variation of the intention to try to cross the boundary between the observation subject and the building in such a contemporary poetry. And the image of the human body changing to glass architecture in the poetry of Kitazono can be seen as an expression of the sensibility common to the contemporary poets who aimed at crossing the boundary between subject and buildings. In other words, Glass in the Kitazono’s works was not only a function to create the world of surrealism as described in previous research, but it was a material necessary for human beings as organisms to cross borders into architecture.

著者

隋 瑜 SUI Yu

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.171-186, 2020-03-31

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This paper examines the relationship between the formation of internationally renowned resorts and cross-cultural exchange at Nozawa Onsen. In order to become a successful, internationally renowned ski resort, what efforts did Nozawa Onsen consciously make for "internationalization," and how did they attempt to build relationships with the "overseas?" In other words, what specific efforts were made to interact with different cultures? I identify the discourses which illustrate the relationship between the formation of the international resort and cross-cultural exchange using Nozawa's public relations magazine from 1971 to 2019 to elicit two categories-ski exchange and cultural exchange-for analysis.

著者

陳 敏 Chen Min

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.187-199, 2020-03-31

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Arishima Takeo and China has not been fully discussed except the reception of Arishima Takeo in China. What China means to Arishima has not yet been considered as an issue. However, one of his new year’s plans for 1922 published in Shinchō was to make a trip to Manchuria and Korea. Although the trip had not been realized due to the influence of the abandonment of all his wealth, it was quite interesting why he planned to go to China at the turning point of his life. The purpose of this paper is to figure out Arishima Takeo’s view on China and whether it is the same with contemporary Japanese writers’ “Shina Shumi” (taste for China) or Asianism. To do so, this paper will focus on why Arishima planned a trip to China and what China meant to him. By analyzing his diaries and other texts, this paper points out that the perception of anarchism in Chinese society then and in Chinese tradition via Hasegawa Nyozekan resulted in his intention to visit China, which was different from “Shina Shumi”. He did see the difference in China while most of contemporary Japanese writers saw China based on their own imagination. Furthermore, by dis-cussing the reality he faced in Japan and what he thought about Japan, this paper also proves that the unrealized trip to China was an escape from political pressures in Japan at that time. Arishima Takeo’s view on China or Korea could also be a clue to understand what he thought in his later years.

著者

孫 旻喬 Sun Minqiao

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.201-216, 2020-03-31

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Robots play an important role in Osamu Tezuka’s story manga. There are several robot characters recognized as female. Their body image was considered to be influenced by image in science fiction works during 1920-1930. However, there are also many differences between works during 1920-30 and Tezuka’s story manga. Karel Čapek created the word “robot”, and defined them as artificial workers who produce for humans or fight for humans. But when robots show femininity, the ability of pregnancy is also required. Female robot’s body let writers imagine about human reproduction, Tezuka’s story manga also includes imaginations about reproduction, but Tezuka showed a different view on it. In this paper, we will see “reproduction” as a keyword to analysis the similarity and differences of female robot’s image between pre-Tezuka science fictions and Tezuka’s works. We will also clarify the relationship between Tezuka’s female robots and the historical & cultural context of postwar Japan.

著者

ムカルジー ヒヤ Mukherjee Hiya

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.217-225, 2020-03-31

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Childbirth rituals are considered to be one of the important rituals of Rites of passage. In any nation or society, rituals and ceremonies associated with Childbirth have undergone many changes with the passage of time. In Japanese society, traditional Childbirth rituals and its customs have embraced many changes not only in the countryside even in the urban areas with the massive advancement of medical treatment or the transition of an Era. The purpose of this paper is to examine the present practice of Anzankigan ritual (a prayer for safe delivery), which is usually performed during the fifth month of pregnancy for ensuring safe and healthy delivery of a newborn. Particularly, this paper will try to find out the practice of Anzankiganritual in an urban area, by the case study conducted at Shinto Shrines, like Shiogama Shrine and Inu Shrine situated in an urban area of Nagoya, which are believed to be the most sacred places to offer prayer to the Kami, in order to be blessed with safe childbirth. While investigating the present practice of Anzankigan, this paper also aims to emphasis on several important aspects, such as historical origin of these two Shrines, how do these Shrines are closely associated with the concept of safe delivery, why these Shrines are so popular among devotees for offering prayer to ensuring safe childbirth and what is the present practice of Anzankiganin an urban area, where hospital delivery is the most popular choice of pregnant women.Through the case study conducted at Shiogama and Inu Shrines in Nagoya city, this paper will not only investigate the present practice of Anzankigan ritual, it will also make a comparative analysis on similarities and differences in the other practices and customs, such as receiving an auspicious Hara-Obi belt for tying the belly and receiving an amulet or lucky charm for ensuring the safe and healthy delivery. Finally, this paper will help to understand in what way the traditional practice of Anzankigan and other essential customs performed during the fifth month of pregnancy, are still continuing in the present day urban city of Nagoya.

著者

杉山 雅梨華 Sugiyama Marika

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.259-272, 2020-03-31

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Takeo Kuwabara "Secondary Art: Modern Haiku"(1946) was known as a genre criticism toward the post-war haiku and tanka. Having criticized the feudalistic mentality for its modernization prevention and allowed militarism to be catered for, Kuwabara’s institution of the problem prompted reflection of not only the world of haiku and tanka, but also the Japanese culture as a whole. However, the immediate illustrated prospect after the war of Japanese literature by western literature researchers, represented by Kuwabara's “Secondary Art”, had never been assessed up to now, in favor of the easiness known as straightforward progression in the western modern literature path. Kuwabara introduced a questionnaire that had been reviewed in a mixture state of ten haiku by eminent people and five haikuby nameless people with the author names erased. This was a method borrowed from "Practical Criticism" (1929) written by I. A. Richards, whopreceded New Criticism in Britain and the United States. Thereafter, in "Introduction to Literature" (1950), Kuwabara investigated the three main points of Richards’s "Principles of Literary Criticism" (1924), 1. the consideration of aesthetic and daily experience as a continuous thing, 2. the analytical perception of the transfer process for readers to receive the work, and 3. the distinction between the usage of poetic language that would arouse emotions and prosaic language based on the post-war society context. Against the past orientation known as privileged authors and passive readers, Kuwabara had thought of the "communication" as an emphasizing concept for universality, and he dealt with the significant problem of general readers that rose along with commercialism. Hisresearch is not theory for creation nor reception theory but theory that considered literature socially and saw readers empirically.

著者

郭 立欣 GUO LIXIN

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.387-402, 2020-03-31

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Ryunosuke Akutagawa, as an overseas journalist of the Osaka Mainichi Shimbun, traveled to China from late March to early July 1921, and wrote down tihe experience in "Travels in China". "China" was a consistent theme of Akutagawa's literature, and his "Sinophilia" laid a solid foundation of his creation in the early period. However, Contrary to the characteristics of the early period, Akutagawa's works after his tour in China showed realism beyond the realm of mere interests. The experience in China brought about an obvious change in the style of his works mentioned above, and after his traveling around the Jiangnan region, besides his consistent word of criticism about China, Akutagawa began to express his disgust of the Jiangnan city as denied by himself that he was a "sinophile". On the other hand, Akutagawa highly valued the city, Soochow, which was recorded in the chapter: "Travels in Jiangnan". Based on the background, in order to furtherly understand the change in Akutagawa's views about China, considering the novelty and greatness of China in the 10th year of t he Republic in the eyes of one Japanese journalist lived in Taisho 10, and as a novelist, Akutagawa's view about the real China, which was the origin of Chinese poetry and Nanga, and the stage of many novels, played a key role in this study, meanwhile, the importance of Soochow should also be considered in priority. It should be noted that the previous research so far has not paid much attention to his travels in Soochow. This paper based on "Travels in China", which Ryunosuke Akutagawa wrote when he visited China, a country at a historical turning point, and focused on the peculiarities of Soochow emerging from his Jiangnan experience to have an insight into the position of Soochow in his views. The experiences during his travel, the description about Soochow and the impressions he made, all that recorded in "Travels in China" were not only a part of his tour in China, but also one aspect about the impression of China that writer himself and Japanese society had. Therefore, the main purpose of this paper was to clarify part of the changes in Akutagawa's impressions of China by deciphering the representation of Soochow, which was regarded as the special one in his Jiangnan experience.