著者
吉澤 京助
出版者
お茶の水女子大学大学院人間文化創成科学研究科
雑誌
人間文化創成科学論叢
巻号頁・発行日
vol.18, pp.175-182, 2015

The purpose of this paper is to show how the term "Gender Identity Disorder (GID)" has functioned\in Japan since the term spreading to common. Until around the year 2000, when GID has come to be\generally recognized in Japan, transgender were often confused with homosexual. It is the achievement\of the term GID that separating transgender from homosexual with spreading the term gender identity\and sexual orientation. Distinction of these concepts is especially important for transgenders, because\they enable transgender to explain their specific difficulties.\On the other hand, the term GID is causing the following problems. First, the term had been divided\transgenders into two groups: people who are diagnosed with GID and otherwise. Since GID is Medical\disease, the diagnosis by a physician is regarded more important than claim of " patient". Second, in\order to clarify the difference between "fake GID" and "genuine GID", Some people detach GID from\fluidity of gender identity or talk about GID as "correct human" in heteronormativity.\Above two problems are strategies for transgender, placed in the periphery in heteronormative\society, to live better. However, it is necessary to care about non-typical transgender (e.g., gender\queer) who are made further invisible.
著者
宇野 和
出版者
お茶の水女子大学大学院人間文化創成科学研究科
雑誌
人間文化創成科学論叢
巻号頁・発行日
vol.20, pp.29-37, 2018-03-31

This paper analyzes the suffix "mi" connected with nouns often used on Twitter, by comparing the difference between "kodomomi," "kodomopposa," and "kodomorashisa."Results reveal the unique function of "atarashii mikei" that is not observed in other formats. Moreover, it presents the following two points.First, using "atarashii mikei," a long noun phrase can be taken as its word base.Second, using "atarashii mikei," connections can be found and impressions described despite a weak relationship between the word base and object.
著者
山口 紀子
出版者
お茶の水女子大学大学院人間文化創成科学研究科
雑誌
人間文化創成科学論叢
巻号頁・発行日
no.21, pp.115-124, 2019-03-31

The Kyrgyz Republic is regarded as "the Isolated Learning Japanese Circumstance" since it has few chance of human and economic interaction with Japan. In that situation, it is challenging to get the pragmatic opportunities to study or work using Japanese for most of Japanese learners. Also, it seems difficult to continue to learn and hesitate from having education of Japanese language in Kyrgyz. This survey investigated motives for learning Japanese and elements affected to sustainable motivation of life-long learners. The results of factor analysis suggested that (a) they have five types of motives for learning such as 〈desires for living in abroad〉〈interests in Japanese language and culture〉〈self-esteem and selfimprovement 〉〈development personal relationship and challenges to new domain〉and〈hobby and entertainment〉, (b) the lack of pragmatic opportunities and difficulties to study the language may affect to motivation low. On the other hand, the results of covariance structure analysis shows that (c) not only pragmatic motives such as〈desires for life abroad〉 but also non-pragmatic motives such as 〈development personal relationship and challenges to new domain〉affects to sustainable motivation high. It suggests how teachers can support learners' sustainable motivation in" Isolated Circumstances".
著者
松岡 綾葉
出版者
お茶の水女子大学大学院人間文化創成科学研究科
雑誌
人間文化創成科学論叢 (ISSN:13448013)
巻号頁・発行日
vol.14, pp.137-145, 2011

Video dance is hybrid of film and dance, called "new art form" . The purpose of this paper is to clarify a part of characteristics of video dance piece "Roseland" (1990) by Vim Vandekeybus through film theoretical perspective which is based in "Der Film" (1959) by Bela Balazs. According to this theory, three perspectives were revealed: "Close up; the body in the flame and imagination of invisible body outside the flame", "Changing viewpoint; synchronization view", "Editing; re-constructed choreography". And analysis of "Roseland" shows that these points appeared effectively in the film and characterizes as unique art form. "Close up" focuses on dancer's detail such as skin and muscles, and fragments of the body makes movement dynamic. "Changing viewpoint" gives audience immersive views and simulation experiences as well as sequence of shots makes rhythm that initiates movement and music. "Editing"; re-constructed choreography creates a great impact that prevents audience's imagination and make them re-think about the idea of choreography. In conclusion, these characteristics in "Roseland" are part of video dance\essence, and it is important to utilize film theory in analyzing video dance.
著者
岩佐 理恵
出版者
お茶の水女子大学大学院人間文化創成科学研究科
雑誌
人間文化創成科学論叢 (ISSN:13448013)
巻号頁・発行日
vol.10, pp.1-1〜7, 2007

Ariake no wakare is the story written in the late Heian Period. This story can be separated into two parts. The first half is a story about the general who is a woman (she is the same person in the latter half who became Queen mother), the latter half is a story that centers on the minister who is general's successor. So far the minister's story has not been defined. In this research, it is discussed that this story narrates queen mother's completeness. The minister's story only talks about surface part in the story world. At the back of the minister's activity, the queen mother controls the world of the story as she wanted. From the description about miracles happened by the action behind closed doors, and the succession of music, the mechanism of the story can be considered. Lastly, it is referred that the narrator's attitude that imperfectly concluded first-ranked minister's story was to talk about the completeness of the queen mother.
著者
バラニャク平田 ズザンナ
出版者
お茶の水女子大学大学院人間文化創成科学研究科
雑誌
人間文化創成科学論叢
巻号頁・発行日
no.21, pp.231-240, 2019-03-31

The Takarazuka Revue is a popular Japanese theatrical company consisting solely of female performers. Since its establishment in 1914 Takarazuka has often been considered as part of shōjo culture but was its representation the same throughout its history? This paper examines how Takarazuka's representation has evolved after the staging of The Rose of Versailles in 1974 and attempts to localize its position in contemporary Japanese pop-culture. First, by reviewing Takarazuka's position as part of pre-war shōjo culture and through content analysis of The Rose of Versailles, I evaluate the effect the play's staging has had on the Revue. Then, by conducting a discourse analysis of Takarazuka's representation as seen in anime, manga, and variety TV programs, I localize Takarazuka within Japanese pop-culture and discuss the transition process of its representation. The paper distinguishes three primary themes surrounding Takarazuka's post-Rose of Versailles representation in the media: Takarazuka as a setting for girls' comics, Takarazuka as a parody, and Takarazuka's zealous fans. The results of the analysis show, although Takarazuka is still strongly associated with shōjo culture, it has since surpassed the genre and can be seen to have spread to other pop-culture genres such as fan culture and Japanese idol culture.
著者
迫田 博子
出版者
お茶の水女子大学大学院人間文化創成科学研究科
雑誌
人間文化創成科学論叢
巻号頁・発行日
no.22, pp.77-84, 2020-03-31

台灣作家葉石濤在於日治時代出生,接受日本教育而成長。光復後,歴經書寫文字從日語轉移到華語的變化,備受語言轉換之苦;因而被稱為「跨越語言作家」。文學創作語言的更易和認同變遷,即是這群作家們的印記。彭瑞金曾指出,葉石濤在其文學作品中把時代作為描寫的客體反映出植民地經驗。本論將以葉石濤在於1966年發表的<獄中記>為例,檢視作家如何描繪「日本」,並歸納出文本中所顯現的日本意像。<獄中記>是描述一位台灣抗日青年的故事;字裡行間呈現了不少日治時代的浮光掠影。特別値得注意之處有二。其一是文中的日本地名和場所。本論將援用美籍華裔地理學家、段義孚(Yi-Fu Tuan)的「地方」理論,試以解析場景、人物與心情的互動並詮釋薀含的示意作用。其二即是《萬葉集》。1895年台灣割讓給日本之後,台灣總督府的治台政策中,包括了以日本古典和歌(短歌)來推進皇民化教育培養日本精神。男主角聽到了一首和歌後深受感動;顯而易見他對日本古典文學擁有強烈的情感認知。台灣從五十年代開始瀰漫白色恐怖,六十年代亦是風聲鶴唳的時代。然而在政治時局的壓抑下,葉石濤為何卻在作品中闡述日本意像?背後是否有刻意隱喩的意旨或深層意涵呢?這是本文往後試圖欲進一歩探討的重點。「没有土地,哪有文學?」這句話代表葉石濤的文學史觀且是他念茲在茲的創作理念。或許透過此一叙述策略來追憶台灣的歴史,並期以伸展自我的文學理念。
著者
グアリーニ・レティツィア
出版者
お茶の水女子大学大学院人間文化創成科学研究科
雑誌
人間文化創成科学論叢
巻号頁・発行日
no.18, pp.4-1-4-9, 2016-03-31

Motherhood, and the mother/ daughter relationship are recurrent themes in researches about\Japanese literature. On the other hand, not much has been said about fathers, to the extent that some\critics have argued that the absence of the father could be considered the tendency of Japanese fiction\in 2012, as well as a prophecy about the future of Japanese society. However, are really fathers absent\from contemporary literature? In this paper I will analyze the role of the father in Kakuta Mitsuyo's\works, focusing in particular on Boku wa kimi no oniisan (1996) and Kiddonappu Tsuā (1998). Kakuta\Mitsuyo has been writing fiction centered on the family, focusing particularly on the mother-daughter\relationship. The novels examined in this paper, narrated from the daughter's point of view, focused\instead on the father/ daughter relationship: thus, they give us the chance to analyze the "Japanese\modern family" in Kakuta's works from a different perspective. In this paper I will focus on the way\these works reveal that the " collapse of patriarchy " has caused a change within the home, giving\fathers and daughters the chance to build up a new relationship, and new definitions for the "modern\Japanese family".