著者

長岡 壽男

出版者

大阪青山大学『大阪青山大学紀要』編集委員会

雑誌

大阪青山大学紀要 (ISSN:18833543)

巻号頁・発行日

vol.5, pp.67-83, 2012

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The number of professional baseball fans in Japan has greatly increased by the following three reasons: 1)Japanese professional baseball teams have recently become quite strong and competitive internationally; 2) uniquely Japanese baseball culture has permeated throughout Japan; and 3) each professional baseball team has its own homebaseball stadium where the players receive enthusiastic support from their fans in the stand. These reasons worked synergistically to give rise to vigorous and loud yelling from the stand in every ball game. Local fan's yelling necessarily reflects each local dialect. In the present paper, the author attempted to collect and survey yelling words spoken in Osaka dialects by spectators in the stand of baseball stadiums in Kansai areas. These yells were categorized according to the purpose of yelling, and their words were evaluated to demonstrate how effectively those dialectal expressions were utilized. Yelling in baseball games plays an important role to enkindle the atmosphere of a baseball game. On the other hand, there is also a problem of inappropriateness arising from careless usage of unsuitable expressions in a yell.Inappropriate yells should be minimized to keep other fellow-fans' ball game watching pleasant.

著者

団野 源一

出版者

大阪青山大学『大阪青山大学紀要』編集委員会

雑誌

大阪青山大学紀要 (ISSN:18833543)

巻号頁・発行日

vol.2, pp.29-31, 2009

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Yams such as 'nagaimo' and 'tukuneimo' are usually grated and eaten without cooking. Yam is one of a few starch-rich foods that can be eaten without cooking. The grated 'nagaimo' and 'tukuneimo' pastes were incubated at 37℃ for 120 min, but no increases in reduced sugar were detected. The starch granules prepared from 'nagaimo' and 'tukuneimo' were incubated with pancreatin of pig origin. The digestive rate of theraw starch of 'nagaimo' was only 5% to alpha-starch, and was the same as those of raw starch from 'tukuneimo' and potato. These results show that the reason for yams being eaten without cooking could not be ascribable to raw yam starch. Why are yams eaten without cooking? It is suggested that the taste of grated yams is ascribableto their visco-elastic properties.. (accepted. Nov. 30, 2009)

著者

住岡 英毅

出版者

大阪青山大学『大阪青山大学紀要』編集員会

雑誌

大阪青山大学紀要 (ISSN:18833543)

巻号頁・発行日

vol.6, pp.29-47, 2013

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Rakugo is one of Japanese traditional performing arts with a long history of more than 300 years. It faithfully reflects the spiritual aspects of Japanese people and society with all sorts of Japanese personalities and philosophies, ethics and morals, and every detail of dialogical mutual communication(timing of words,etc.). In this respect, Rakugo, along with other Japanese traditional performing arts such as Kabuki, Noh and Kyogen, plays an important role in the Japanese traditional culture.Rakugo stories convey a multitude of feelings and wisdoms, such as happiness, sadness, empathy, ethics, pathos, healing, etc., in the human lives of ordinary people. During every Rakugo performance, a unique atmosphere is created in the hall through empathy between the storyteller(Rakugo artist) and the listeners(Rakugo audience), and such atmospheres have helped the Rakugo art transform itself continuously. In other words, these unique Rakugo atmospheres created through dialogical communication between the teller and audience has contributed to the development of Rakugo art. This is one of the intrinsic characteristics of Rakugo, unseen in other traditional Japanese performing arts.The present treatise intends to extract educational elements out of such intrinsic characteristics of Rakugo, interpret them from the educational point of view, and explore various possibilities of utilizing Rakugo culture in the field of education The purposes of these considerations are: (1)to visualize unintended educational functions, i.e., potential character-building functions, of Rakugo, and (2)open up a new field of education by incorporating the unintended educational potential of Rakugo into intentional educational curriculums. Thus, the present treatise schemes to open a new door to the practice of education through Rakugo culture by exploring a possible association between Rakugo culture and pedagogy.The present treatise first takes up two Rakugo stories, "An alum apprentice (Myouban decchi)" and "Praising kids(Kohome)", to analyze their ideas of human beings by focusing on how the main characters such as the apprentice, the husband, and the fool, are depicted and how they are performed by the storyteller. Then their educational human relations through which the stories intend to convey their views on human beings are discussed Secondly, the Rakugo's concepts on ethics(morals)are discussed by analyzing the sinfulness of humans observed in "A parent-child teahouse(Oyako-jyaya)" and "A stable fire(Umaya-kaji)", humanness seen in "A case over killing a deer(Shika-seidan)", and satire expressed in "Sasaki's rulings(Sasaki-sabaki)". Then, how such analysis may make the innermost of morality visible is discussed, although the present-day's moral education has been failing to clarify it.Thirdly, the communication through dialogues between the storyteller and audience is taken up, and discussed to show how it becomes to show educational potentiality.The above three viewpoints constitute the present introductory treatise on education through Rakugo culture.

著者

桂 蝶六

出版者

大阪青山大学『大阪青山大学紀要』編集委員会

雑誌

大阪青山大学紀要 (ISSN:18833543)

巻号頁・発行日

vol.5, pp.53-66, 2012

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Rakugo and Kyohgen could both be classified as humorous comedeies representing the world of Japanese traditional performing arts. However, their vectors of laughter are widely different. The leading role in Osaka Rakugo is played by Kiroku while that of Kyohgen is played by Taro Kaja. Behavioral differences between the two leading roles reflect differences in dramatic stance between the two performing arts. Kiroku is alwayslaughed at the audience at the end of the story whereas Taro Kaja often finishes the drama by laughing at other figures in the story. The leading role in Rakugo is a fool who is always the target of laughter while the leading role in Kyohgen is an underdog who enjoys himself by laughing at his "overdog" in the play. Both Kiroku and Taro Kajya gain popularity through the audience's sympathy towards their behaviors in each comedy, but the differences is evident in the feelings received from the two leading roles, i.e., Kirokus failures are always laughed at while Taro Kaja induces laughter by playing trics on others in the play, although the audience's verbal reactions to both would often be the same, i.e., "It couldnt be helped that he behaved that way." In the present treatise, I attempted to discuss the essence and functions of Rakugo and general comedies in turn, which appeared distinct by comparison between Rakugo and Kyohgen.