著者

髙畑 早希 TAKABATAKE Saki

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.419-434, 2020-03-31

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This paper discusses one of Miyazawa Kenji's folkloric fiction, “Futari no Yakunin,” which, despite the author’s description as folkloric, was not evaluated as a folkloric work in past studies. This paper indicates a bias in previous views of folklore, serving as the premise of the study, and in the direction of academic interest. In addition, by borrowing the concepts of “daily narrative” from the study of oral literature and “contemporary folktale” from the study of folktales, this paper intends to deconstruct the bias that has alienated “Futari no Yakunin,” and reposition the work as a folkloric tale (min-dan).

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

vol.3, pp.1-17, 2020-03-31

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The objective of this article is to describe the acceptance of Rimpa by Imamura Shiko (1880-1916). He is one of representative Japanese painters in late Meiji and early Taisho era. And also he is famous for the artist who likes the style of Rimpa. However there are few studies which reveal how Shiko studied Rimpa on the way to search for “New Japanese art”. In peak period of work, he made three paintings which have same theme: “Ise Monogatari”. He rarely made paintings of the same theme. Also, this theme has been taken over by Rimpa. Therefore this article focuses specifically on three “Ise Monogatari” themed paintings by Shiko and indicates the changing among those paintings. The first chapter suggests the subject and surveys the theme of “Ise Monogatari” as paintings. It is popular theme in Japanese art and there are famous works by Rimpa. The second chapter describes details of three paintings by Shiko. First of all, “Narihira Azuma kudari” was painted in 1911. Next, “Utsu no Yamaji” was painted in 1912. Lastly, “Tsuta no hosomichi” was painted in 1913. All paintings set theme in “Azuma kudari” from “Ise Monogatari”. And also this chapter compares characteristic points of three paintings: the expression of figure and the depiction of nature. Shiko followed his master’s way in early period. His master is famous for historical paintings which expresses fine figures. However, he introduced style of Yamato-e for second one. And third one draws near style of Rimpa. The third chapter defines process and importance of acceptance of Rimpa by Shiko in modern Japanese paintings. Ogata Korin has been realized the importance in the middle of the Meiji era. Nevertheless, only few people recognized Tawaraya Sotatsu in that time. Shiko and his patron contributed to revival Sotatsu’s way in modern. The fourth chapter concludes Shiko accepted way of Rimpa for his painting step by step. And his painting was changing by the degree of his understanding of Rimpa’s way. The observations may help to develop the investigation of Shiko’s late paintings in the movement of creating “New Japanese art”. Moreover, it may be useful to those who investigate Japanese paintings in Taisho era.

著者

王 占一 WANG ZHANYI

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.93-106, 2018-03-31

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Japan has the south part of Middle-East Railway and the right to operate of Fushun Coal after the Russo-Japanese War. In 1906, Japan established the South Manchu Railway Co. Ltd. and a number of immigrants from Japan as pioneers take this opportunity to 'develop' Manchu. At meanwhile, the local culture influence and interfere with "Manchu Railway". Japan began to publish newspaper and magazine in Manchu, which is known as "Cultural Development". For instance, the official magazine called THE LIGHT of MANCHURIA, which published by The Culture Association of Manchuria in 1920; it has been renamed as MANCHURIA. Japan is study the data about China in detail that basis on the survey and research though the newspapers and magazines. The main purpose of the study is the crucial task of national characteristic. According to the MANCHURIA, the Ballad of national character and social reality has become the most important reflects in the research. In the 1930s, a number of study books of Chinese folk songs have been published in Manchu. Some of them even still republished after the war. On this paper research is based on the MANCHURIA, which will focus on the Japanese interests at that age. As start the analyses on the data of Chinese folk songs or Manchu folk songs, and explain the study of how the Japan observe the Chinese society by folk songs study, and what is the role of folk songs played in this process. In addition, this paper also discusses the change of Chinese folk songs from 20s to 40s. This paper is divided into five parts, Japanese studies of Chinese folk songs and question consciousness; Chinese national character in folk songs; the imag e of China or Chinese in folk songs; the different landscape in Manchuria's new folk songs; resistance and marginalization of political folk songs.

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

no.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

ファルダ ズライダー Farda Zuraidah

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.61-75, 2018-03-31

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This paper observes the characteristic of nanchatte as a quasi-final particle in modern Japanese language. The author proceeds to reconsider nanchatte's characteristic and function. The prior sentence to nanchatte has been described in the dictionary and in prior theories as an "exaggeration", "overstatement", "a lie", and so on. The Function of nanchatte has been noted in the dictionary and prior theories as "reserves or make fun", "embarrassment" and "joke". However, after observing nanchatte's examples, there were cases where what is quoted by nanchatte was shown as "a speaker's true feeling". Such as, when someone says "Suki desu…nanchatte! Hontou wa honki desu kedo ne (I like you…nanchatte! Actually I'm serious)". In this case, the speaker seems to quoting the prior sentence (Suki desu / I like you), than treat it as an exaggeration. By observing the characteristics of "nanteicchatte" and "nanteitteshimatte" and so on which is considered as the origin of nanchatte, the author found out that the following characteristics are common to both nanchatte and its origin. Furthermore, in this Paper the author argues that nanchatte as a quasi-final particle is derived from its origin which have the characteristics as follows: (1) The speaker considers the prior sentence as "utterance to be quoted". (2) The speaker quoting the prior sentence, then treating it as an exaggeration (negligence remark). (3) The quota belongs to the speaker himself. (4) The prior sentence is an immediate utterance. (5) Appears at the end of the sentence, and the sentence is concluded. In other words, the characteristics as mentioned above are claimed as an established condition of nanchatte as a quasi-final particle.