著者

宗意 和代

出版者

法政大学大学院 国際日本学インスティテュート専攻委員会

雑誌

国際日本学論叢 = 国際日本学論叢 (ISSN:13491954)

巻号頁・発行日

vol.11, pp.五四(39)-三三(60), 2014-03-18

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The romance novel or romantic novel is a literary genre. The history begin Samuel Richardson's popular 1740 novel "Pamela, or Virtue Rewarded". Now romance fiction comprises 48.8% of all popular paperback fiction sold in North America. This genre is popular in Europe and Australia, and translated in 90 languages. Romance novels place their primary focus on the relationship and "romantic love" between two people, and must have an "emotionally satisfying and optimistic ending.How the meaning of the "romantic love" is understood by women?For the purpose of studying the genre "Romance", this article pursues the effect and influence of mainly women' s reading upon the understanding of "romantic love" in the English Language Countries.

著者

Kahlow Andrea Luise

出版者

法政大学大学院 国際日本学インスティテュート専攻委員会

雑誌

国際日本学論叢 = 国際日本学論叢 (ISSN:13491954)

巻号頁・発行日

vol.15, pp.1-35, 2018-04-17

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The “Dance of the Herons” (sagimai 鷺舞) is a dance with instrumentaland vocal accompaniment, performed by two dancers in full-body heroncostumes at a summer festival on July 20 and 27 in Tsuwano, an old castletown in western Honshu that attracts many tourists with its beautifullypreserved Edo townscape. The dancers, who represent a male and femaleheron, are joined by other performance elements deriving from themedieval Gion festival, such as the drum dance kakko mai 羯鼓舞. TheGion festival, the annual festival of Kyotoʼs Yasaka Shrine, is one ofJapanʼs biggest summer festivals, famous for its elaborate floats andfestival music. In this article, the present form of the sagimai is situated inits relationship to its history. Analysis is based on the results of previousresearch as well as the authorʼs fieldwork, including interviews with theperformers.

著者

Suzumura Yusuke

出版者

法政大学大学院 国際日本学インスティテュート専攻委員会

雑誌

国際日本学論叢 = 国際日本学論叢 (ISSN:13491954)

巻号頁・発行日

vol.10, pp.86(41)-75(52), 2013-03-08

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The status of women performers in Noh has been a subject of debatebefore women's entry into the Nohgaku Kyokai (Nohgaku Performers'Association) in 1948. In 1948, just a few years after the Second World War,several women were allowed to apply for professional status as Nohperformers. Before that, women were only permitted to practice Noh as ahobby. Even after women were recognized as Noh professionals, it was notuntil 2004 that certain female Noh performers were recognized as IntangibleCultural Properties and permitted to enter the Nihon Nohgakukai(Association for Japanese Noh Plays). It means that they were notrecognised at the highest levels of professional performance of Noh, thoughsome of them were as skilled as male professionals. After that, however,there still remains a considerable negative attitude to Noh performances bywomen or women Noh players among critics or audiences. In thispresentation, we examine articles on women's Noh performance run in someJapanese general newspapers after the late 19th century to the present anddiscuss these articles quantitatively and qualitatively. In this way we will findand analyse some tendencies or characteristics in discourse aboutperformance depending on differences in sex, their skill, or their status asthe Noh performers. The paper will discuss socially-accepted ideasrepresented in these articles. This will make it clear that the logic of somenegative attitudes to Noh performances by women or women Noh players isbased on the tradition of Noh as well as their ability or technique.

著者

髙野 宜秀

出版者

法政大学大学院 国際日本学インスティテュート専攻委員会

雑誌

国際日本学論叢 = 国際日本学論叢 (ISSN:13491954)

巻号頁・発行日

vol.10, pp.1-38, 2013-03-08

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This paper considers the Iwamatsu Tsuneie clan trend by comparing and examining Taiheiki and historical records. In the conventional history, it was the principal axis to research of the capability of the politics and the military affairs of a Nitta Yoshisada individual, the Southern Dynasty, meaning, etc.Moreover, in Nitta clan research in Taiheiki, it was the mainstream to consider Yoshisada's person image which led comparison with other generals. Then, I would like to clarify the Iwamatsu clan image in the view to the Iwamatsu Tsuneie clan of the Tiheiki author, or Taiheiki by performing contrast of Taiheiki and historical records.The ancient documents of houses, etc. are used for historical records. I utilize Taiheiki,the Seigenin-bon made old also in Taiheiki.A prologue shows way return of a previous work, the meaning of its research, a viewpoint, and a measure plan.This paper, I focus on the influential branch, Iwamatsu. Although the lwamatsu were not important figures in Taiheiki, I have considered what kind of activity there actually was using the historical records related to lwamatsu Tsuneie and Iwamatsu Tsunemasa. As a result, although Iwamatsu branch was represented by only one general in Taiheiki, it is shown clearly in fact that two had participated at the level of general class in the Kamakura attack.In the last chapter, I described the result and subject of this paper and the view of future research.

著者

武藤 美枝子

出版者

法政大学大学院 国際日本学インスティテュート専攻委員会

雑誌

国際日本学論叢 = 国際日本学論叢 (ISSN:13491954)

巻号頁・発行日

no.15, pp.122-102, 2018-04-17

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In November every year, a ritual was held in the imperial court to offer the newly harvested rice to deities. On the last day of the ritual event, a banquet was given by the emperor for courtiers. The highlight of the banquet (Toyoakari-no-sechi-e) was Gosechi-no-mai, which was danced by four (or five) gorgeously dressed young ladies. Courtiers, men and women, all looked forward to this feast. To provide a dancer, however, was a highly costly operation, and therefore, not many aristocrats were willing to undertake the task, thus, royal ladies, too, were sometimes asked to provide a dancer. In the second year of Eien, (or yr. 988), Kotaigo provided a dancer. The word Kotaigo could mean the wife of the former emperor or the empress mother. In the previous papers by three researchers, this Kotaigo was assumed as Junshi, who was the wife of the former emperor En-yu. This paper clarifies that the Kotaigo in 988 cannot be Junshi, but must be Senshi, the Empress Mother. The confusion presumably came from Eiga Monogatari or A Tale of Flowering Fortunes — Annals of Japanese Aristocratic Life in the Heian Period, which reads that Junshi provided a dancer in the year when the 60th birthday of Fujiwara-no-Kaneie was celebrated, i.e, in 988. The descriptions of Junshi providing a dancer in the Tale, however, were too concrete and detailed to be a mere fabrication. Following the descriptions of the Tale, this paper concludes that Junshi did provide a dancer, but it was not in 988 but in 987.

著者

平島 朱美

出版者

法政大学大学院 国際日本学インスティテュート専攻委員会

雑誌

国際日本学論叢 = 国際日本学論叢 (ISSN:13491954)

巻号頁・発行日

vol.13, pp.92-121, 2016-03-07

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Shishimai is a traditional performing art employing a lion mask. It is explained as a lion dance because shishi means lion and mai means dancing. Shishimai is one of the biggest and the most enjoyable events inJapanese communities. The performers try to make contact with the supernatural world through dancing rhythmically with the mask on. Most shishimai in Japan are performed at Shinto festivals or on the New Year by people in the community and transmitted among them from elders to younger people, while those in some Asian societies are performed at the opening ceremony of a company or on the Lunar New Year by professional groups and transmitted from master to pupil there. Shishimai in Japanese communities are a religious symbol for thepeople there. Shishimai give them hope, satisfaction, power to live, identity and good relationship in a community not only in case of peace but also in case of emergency. Shishimai show people’s decision to form asense of identity and maintain their community.

著者

任 麗

出版者

法政大学大学院 国際日本学インスティテュート専攻委員会

雑誌

国際日本学論叢 = 国際日本学論叢 (ISSN:13491954)

巻号頁・発行日

vol.8, pp.85-100, 2011-03-22

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Nowadays Relevant Theory, widely applied in many fields includinganthropology, psychology and linguistics, has greatly influenced theadvancement of human civilization. This thesis analyzes the function of rubywithin the perspective of Relevant Theory.Ruby has not only the function of phonetic transcription but also someother functions within Relevant Theory: 1 explanation, 2 semanticconstriction, 3 deixis, 4 cue of era and settings. Deixis can be furthercategorized into present deixis and recollected deixis.Analyzing ruby is very helpful to understand the content of work from aRelevant Theory perspective. Thus, readers can grasp the intention of thewriter.