5 0 0 0 OA 「クリスマスを語る」 : スウェーデン、ダーラナ地方の1村落からI.
This paper deals with Swedish Christmas. In Sweden Christmas is one of the most important annual ceremonies and Swedes spend a lot of time, energy and money on it. In the beginning of the 1990s, just when I started a cultural-anthropological fieldwork in the province of Dalarna, I had a chance of celebrating it with a family (my acquaintance) who was living in a small village on the outskirts of Leksand city. The celebration there was so impressive that an idea crossed my mind. That is making questionnaires on Christmas and distributing them to the houses of my research village. "Christmas" sounds a bright topic for me (a foreign anthropologist) to develop communication with people. The questionnaire, based on the experience at my acquaintace's, consists of 8 subjects. They are ornaments, meals, preparations, where and with whom to celebrate, Swedish Santa Claus (jultomten), presents, the Bible /church/clothes, and any comments on and memories of Christmas. In this paper I have introduced the details of the above-mentioned 8 subjects(the questionnaire in Japanese), the explanations on and the backgrounds of them, and an original questionnaire in Swedish. In the next paper I will publish answers and make some comments on them.
2 0 0 0 OA 日本産業革命期における「運命」言説の位相 : 石川啄木の生涯を参照系として
This paper aims to shed light on the discourse of "destiny" in the era of Japan's industrial revolution, and to explore the implicit and explicit relations which it has to other discursive entities and to the contemporary social arrangement. In order to do so, I chose to focus on poet Ishikawa Takuboku (1886-1912), and to trace the change of his thought on "destiny" during his life. During the period of social change in the Meiji Restoration, risshin shusse (climbing up the social ladder) was commonly accepted as the most important idea. The Meiji youth were expected to struggle for it. In the early twentieth century, risshin shusse, which was encouraged by the substantial economic growth of the time, impelled the Japanese ambitious youth to strive for their own "success" (seikou), and this word acquired a new meaning that built up a fortune. However, the stabilization of social order and frequent recessions in the second half of the Meiji led most of them to failure. In such circumstances, those people who escaped from fierce competition for acquiring money or status emerged one after another. They were called "anguished youth" (hanmon seinen). It was thought that their excessive aspiration had to be cooled down so as to calm their anguish. Therefore, a large body of literature focusing on "cultivation" (syuyou), which advised the youth to conduct themselves impeccably, was published. This useful literature helped the youth to set suitable objectives for their social position. As the capitalist economy rapidly developed, the discursive space whose folk terminology consisted of words such as "success", "anguish", "cultivation", etc., was built up. During the radical changes in the world during this time, people participated in it, and used this terminology as a compass to find the way to their goal. Nevertheless, it is clear that the discursive space reflected an ambivalent attitude toward life. The characteristics of it are made explicit in the usage of the ward unmei ("destiny", or, "fate"). In those days many people insisted that they ought to "carve out their own fortune" (unmei no kaitaku) ; on the other hand, many books, which claimed that they held, m "the secret of success" (seikou no hiketu), were published. Takuboku was an ambitious young man of the Meiji era who lived in the discursive space. Therefore, his attitude to destiny was ambivalent. It follows from this that the investigation into his thoughts on destiny elucidates the significant characteristics of the discursive space in the era of Japan's industrial revolution.
2 0 0 0 IR 国際会議報告 アーツ&クラフツ運動史国際会議+セツルメント運動史国際会議出席に関する報告
- 著者
- 森 俊夫 Toshio MORI 京都文教大学人間学部現代社会学科 KYOTO BUNKYO UNIVERSITY Department of Social Design Studies
- 出版者
- 京都文教大学
- 雑誌
- 人間学部研究報告 (ISSN:18843743)
- 巻号頁・発行日
- vol.11, pp.105-117, 2008
1 0 0 0 IR 森有正の言語論と心理臨床--対話関係における二項関係の日本的性格
- 著者
- 鑪 幹八郎 Mikihachiro TATARA 京都文教大学人間学部:京都文教大学臨床心理学科 KYOTO BUNKYO UNIVERSITY Department of Clinical Psychology
- 出版者
- 京都文教大学
- 雑誌
- 人間学部研究報告
- 巻号頁・発行日
- vol.7, pp.59-67, 2004
This is a part of clinical and psychological study series of Arimasa Mori, a Japanese philosopher. In this paper, author tried to focus on his thoughts of the language structure of Japanese compared to French. He found the difference of speech in relation to whom, where and how in the context of interpersonal relationship. In contrast to French, Japanese language has to be used always in the consideration of whom you are talking to. Interpersonal relationship with the object to whom you are talking has to be always considered in the talking situation. This culturally bound way of expression is called Niko-kankei, which forces to take account social and interpersonal relation in two person relation, talker and listener. Mori tries to speak independently with a listener without considering talking situation and interpersonal relation of the talker and the listener. However, it seems to terribly difficult to speak Japanese in Japan in the way of speaking French.
As a documentary filmmaker specialized in themes such as transformation and habilitation of violent criminals, the author has recognized that in mainstream correction and medical models the most crucial problem is the fixed roles of inmate/officer or patient/doctor based on their hierarchical nature. Supporting the basic principle of "TOJISYASYUKEN" (person-with-needs centered and empowerment approach) by Chizuko Ueno and Masashi Nakanishi, this paper examines an Australian alternative model for incarcerated women which takes an artistic form. Somebody's Daughter Theater Company (SDT) is a professional drama and arts group which works with women while in prison and after release in Victoria, Australia. Among criminal population, women inmates are often found most marginalized and victimized, yet their voices are hardly heard in correctional settings. SDT, on the other hand, has been serving effectively over 25 years to spotlight and mirror these women's suppressed voices inside the walls by having inmate-centered workshops and performances both inside and outside of the prisons. What makes SDT extraordinary and dynamic is its philosophy and approach based on a humanistic and artistic principle- "art is the true equal meeting ground for all-transcending difference of class, money and power" and this is clearly different from mainstream correction and medical approaches. Here, incarcerated women are treated as professional artists rather than "prisoners" and the process of creating arts and drama itself is an empowement of these women. By the author's close observation over the performance and art exhibition in July 2005 at Dame Phyllis Frost Center, one of the women's prisons in Victoria, along with interviews of several SDT members, this paper demonstrates the significance and possibility of non-correctional and non-medical approach.
- 著者
- 中窪 靖 Yasushi NAKAKUBO 京都文教大学人間学部・臨床心理学科 KYOTO BUNKYO UNIVERSITY Department of Clinical Psychology
- 出版者
- 京都文教大学
- 雑誌
- 人間学部研究報告
- 巻号頁・発行日
- vol.9, pp.75-87[含 英語文要旨], 2006
The focus of this paper is an examination of Iris Murdoch's idea of "good or goodness" through her novel, A Fairly Honourable Defeat. First of all, I will look into the way one character influences other characters. He is the most impressive character, Julius King. In Chapter One, I will discuss how he tries to manipulate Rupert Foster, who becomes his easy target. Another character, Morgan Browne, is Rupert Foster's sister-in-law. Julius utilizes this brother and sister relationship. He skillfully encourages them to love each other, and also forces Rupert to face his own vanity. This is the first stage of Julius' devilish plan. Julius also tells his target about his own concept of good or goodness. This seems to be Iris Murdoch's own conception of good or goodness, or the idea she wishes to focus on. Secondly, I will focus on Julius' various aspects, as he gets into the second stage of his plan. In Chapter Two, I will discuss his second target. He makes use of one character, Simon Foster, who is Rupert's brother. Simon is a homosexual with a weak personality. Julius never overlooks his homosexual relationship with Axel Nilsson. He gets Simon into trouble. One day, he goes to Julius' apartment and meets Morgan Browne, who has been left naked there. She earlier visits that apartment without saying anything, and takes off her clothes in front of Julius because she wants to recover their former relationship. Despite her attempts, Julius never takes in such a request. To make matters worse, after she goes into his bed, he cuts her clothes into pieces and leaves there. Just after that incident, Simon appears. He never expects to see his sister-in-law there, and is so upset. Unfortunately Simon is left there naked in turn, because Morgan borrows his clothes and goes back home. Julius takes advantage of this situation and encourages Simon to think that his boyfriend knows it and leaves him. Eventually, Simon is trapped in the "cobweb" of Julius King. Finally, I will focus on the last of Julius King's performances. In Chapter Three I will discuss Julius' final action. He whispers to Rupert's wife, Hilda. When she hears from him, she is extremely puzzled, and leaves home. This incident seems to lead Rupert to his death. In Chapter Four, I will discuss a unique character, Tallis Browne. He is the husband of the key character, Morgan Browne. However, he himself is unremarkable and seems to be worthless. He is hard to understand because critics never fail to think of him as an important person. They think he looks like Jesus Christ when they compare him to Julius. One critic, Bran Nicol, regards Tallis as a saint while Julius is regarded as an artist. When we think that Tallis Browne plays an important role, we can focus on two scenes. One of them is when he meets Morgan just after she returns from the U.S. The other is when Julius tells him about why he has to behave devilishly. In conclusion, I will make a quick return to my comments in the chapters above. Who on earth has played his or her role as a person with goodness? When we follow what Julius King has said and done, we seem to recall several significant scenes. At times he has lectured on his socalled philosophy. At other times he has strictly criticized what Rupert Foster does as well as what other characters do. When we dare to regard Rupert as an artist and Julius as a saint, it seems that brother-in-law of Morgan Browne is "a fairly honourable loser", and our attractive character is a winner. In one of her essays on goodness, Murdoch says, "A great artist is, in respect of his work, a good man, and, in the true sense, a free man." Rupert comes to an end as a loser, found dead in the swimming pool, because he tries in vain to be a true artist. On the contrary, Julius becomes a person who allows Rupert to face his real self. As Julius says to Tallis Browne about Rupert, "He cannot endure the destruction of this self-respect. Rupert didn't really love goodness. He loved a big imposing good-Rupert image." So, I conclude that a true "good" person does goodness to others even if he himself behaves devilishly. It is Julius King who understands what good or goodness is.
1 0 0 0 OA 由緒正しき異界の現在 -マイノリティの街、梨泰院<エッセイ>
- 著者
- 安田ひろみ
- 出版者
- 京都文教大学
- 雑誌
- 人間学部研究報告 (ISSN:18843743)
- 巻号頁・発行日
- vol.11, pp.125-131, 2008
1 0 0 0 OA アカデミック・エッセー・ライティングのコツ
- 著者
- 依田博
- 出版者
- 京都文教大学
- 雑誌
- 人間学部研究報告 (ISSN:18843743)
- 巻号頁・発行日
- vol.14, pp.15-45, 2012