著者

豊福 裕子

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.10, pp.175-184, 1996-03

著者

難波江 和英

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.17, pp.73-114, 2003-03-31

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This is the last part of the present trilogy study on discourses of heterosexual love in J-POP. The opening chapter contains a summary of Part I and Part II, which is devised to help the reader have a quick review of the preceding chapters so that they will readily posit the main body of Part III in a proper and whole contextual perspective. The second chapter titled "Historicizing the Heisei Period" discusses the cultural climate of the Heisei period in which heroines and heroes of J-POP have been faced with difficulties in establishing their love relationship. A further discussion shows that they are obsessed with a new fin-de-siecle syndrome in which pursuits for truth (ex. "the true love" and "the true self") are destined to fail. In other words, they are bewildered to see that theirs is an age in which love appears to be something other than love or in which love is simply hidden form their view. This is due to the merge of sexual liberation and sexual commodification that has been characterizing the capitalistic facets of modern Japan. In this situation, the key to their search for "the true love" shifts from "heart" through "game" to "performance." The third chapter titled "Love and Happiness" brings into question the missing link between love and happiness in the Heisei period. A broad survey of popular songs from the 1960s to the early stage of the 1970s reveals a couple of musical phenomena unique to this time span. First, there were still a large number of "female songs" in which love and happiness were inseparably linked for women. Second, there were a far smaller number of "male songs" in which men put their love to women directly into words. It is only with some signs of hesitation that they verbalized the sense of happiness they felt to women. A comparative reading of popular songs from the 1960s to the 1980s shows that this restraint of men was beginning to be canceled toward the end of the 1970s. It is at this stage that male characters in popular songs started to sway between the loss of the criterion by which they managed to be "a man" and the newly developed sense of aspiration for such role models as their previous generation had once cherished. The fourth and final chapter is titled "From Happiness to Fulfillment," for it aims to demonstrate selective methods by which young Japanese people of the Heisei period could learn to sublimate their sense of happiness to a new phase of joy - a sense of fulfillment. As some of the major characters in J-POP indicate, their failure to confirm or solidify their sense of happiness per se derives partly from their lack of role models and partly from their consequent obsession with a search for "the true self." In the world of J-POP, a number of heroines and heroes are so busy looking for their "real me" that they fail to see the significance of the other who is capable of both offering and canceling the very foundation of their selfhood. Even when they face their boy/girlfriends, they are too busy getting stuck together to notice that their happiness lies not in mutually satisfying their personal desire but in repeatedly reforming or endlessly unfolding what would otherwise be an amorphous self. The steady merge of love and capitalism in the Heisei period spurs this trend into more radical commodification of "love=happiness" than ever. Incidentally, some of the heroines in J-POP go so far as to measure the degree of their happiness either by comparing it with others' or by converting it to its monetary value, viz. the amount of money their boyfriends have spent for them. In this respect, the Heisei period, in which love is allegedly missing, comes out nothing more than a trendy drama of cultural materialism through which the norm of love, if not love itself, has gained its tangible form. It does not mean that "the true love" as well as "the true self" does exist as some entity. It should be rather that love manifests itself as a lived rendering of virtual reality in the sense that it can be created, developed, transformed, perished, and recreated through the social network of human beings and with the accumulation of thoughts and experiences. Those who do not hold this view are eager to pursue the entity of "the true happiness" as if it were somewhere beyond the realm of their daily life, and end up gratifying their personal desire on the basis of the stereotyped image of happiness. As a critical reading of "The Magic of Midsummer" by Lead suggests, it is only within the framework of their daily routine that a series of unforgettable and therefore "happy" events emerge, just when they are led from the shadow of uneasiness through the secular cloud of happiness into the internal glow of bliss in their love relationship.

著者

米田 眞澄

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.28, pp.69-86, 2014-03

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日本では、2000年の国連による「国際的な組織犯罪の防止に関する国際連合条約を補足する人(特に女性及び児童)の取引を防止し、抑止し及び処罰するための議定書」の採択を受け、2004年12月に人身取引対策基本計画を策定し、人身売買の取締と被害者の保護のための政策が開始された。2005年には議定書批准に向けた国内法整備を目的に刑法、出入国管理及び難民認定法などの関連法の改正がなされた。とりわけ、人身売買者の処罰については、刑法に新たに人身売買罪(刑法226条の2)が新設されたことが注目された。しかし、人身取引事犯の検挙数は少なく、その多くは、人身売買罪ではなく、売春防止法あるいは職業安定法など既存の法律を使って逮捕・起訴されている。これは、人身売買罪の成立要件である不法な支配の確立とその移転について、売渡し人が被害者に対して支配を確立していたとみなされる基準が狭いためである。一方、被害者の保護からは、借金の返済の為に売春を強要される女性たちがいることが明らかとなってきている。そのような女性たちは戦後に多くみられたが、当時においても、ほとんど処罰がなされないと批判されていた。本稿では、借金返済のために売春を強要される事例においても人身売買罪の適用は困難であり、性的搾取を目的とする人身売買の摘発にあたっての国の方針は戦後から変わっていないことを明らかにする。After the United Nations adopted the Palermo Protocol in 2000, Japan drew up the Action Plan to Combat Trafficking in Persons in December 2004. In 2005 Japan amended the penal code, the immigration law and several other laws to ratify the Protocol. Particularly, it is worthy of notice that the new crime of "buying and selling persons" was designated. In practice there have been few human trafficking arrests in Japan, and in most cases the older laws related to anti-prostitution and the employment security are applied instead of the new crime. The main reason is that the definition of the crime of "buying and selling persons" is too narrow. Recently it has been shown that some female victims of human trafficking for sexual exploitation are forced into prostitution because of debt. There were so many women in such a conditions after World War II. In those days most traffickers were not punished. In this article, I explore the difficulties in applying the new crime in Japan and show that the national policy on arresting traffickers for sexual exploitation has not changed since the postwar period.

著者

生野 照子

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.29, pp.1-22, 2015-03

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摂食障害と母娘関係について、心身医療の立場から述べた。まず、摂食障害について医学的観点から、摂食障害の診断、現状、特徴、発症要因、発症後の悪循環について解説した。次いで発症への準備要因として、自己評価の低さや他者優先思考について検討した。摂食障害が心的防衛として働く理由として、〇食べ物が提供する安らぎ、〇痩せがもたらす達成感、〇隠れ蓑としての痩せ、〇成長や女性性の回避、〇周囲を支配すること、などを挙げて解説した。外来でみる親子関係を、〇良い子役割、〇養育態度の偏り、〇情緒性の食い違い、〇illness network の観点から示すとともに、母娘関係をめぐる現代的背景を〇母親の自己評価力の低下、〇養育における達成目標の見えにくさや多面性という角度から考察し、母娘関係を複合的にとらえる必要性を述べた。最後に摂食障害にみる母娘関係の事例として、痩せという武器で母親を引き寄せ、拒食症の葛藤の中へ母親もろとも突っ込んでいったケースを挙げた。母娘とも苦難を打ち破るためには、子を乗り越え、母を乗り越えるしかない状況であったが、その危機のおかげで母娘は子殺し・母殺しというテーマを克服し、ともに生きる方向性を見出す結果に至ったケースである。摂食障害という疾患は、「食べる」という事態を介することで根源的な問題を本人や家族に突きつけるが、回復をめざすプロセスはまさに精神の開花 blooming につながるものである。I discussed mother-daughter relationship from the psychosomatic medicine viewpoint. Firstly,from a medical standpoint, I explained the diagnosis, current condition, characteristics, factors at onset, and the vicious cycle following the onset of eating disorders. Secondly, I examined low self -esteem and a tendency to prioritize others as potential factors of the onset. I explained how eating disorders work as a psychological defense,with regard to the peace of mind that food provides, a sense of accomplishment that thinness brings,thinness as a false front, the denial of maturity and femininity, controlling others, and so forth. I demonstrated the outpatient parent-child relationship from the perspectives of a good child role, unbalanced parenting attitudes, emotional discrepancies, and the illness network; and described the necessity of understanding the mother-daughter relationship in multiple ways,considering the background of the modern mother-daughter relationship from the angle of the drop in the mother's self-esteem,difficulty in finding goals to achieve in upbringing,and the multiple characteristics of upbringing. Finally, I showed a case study of a mother-daughter relationship troubled by eating disorders, in which the daughter used her thinness as a weapon to draw her mother's attention and involved her mother in her frustration with anorexia nervosa. In order to break through these difficulties and their problematic mother-daughter relationship, both the mother and daughter had no choice but toovercome the themes of "killing child" and "killing mother", which allowed them to find a course of life together. Eating disorders confront patients and their family members with fundamental problems throughout the state of "eating", however, the process of recovery leads to psychological blooming.

著者

内田 樹

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.13, pp.153-177, 1999-03

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Dans notre derniere analyse,nous avons interprete la Saga-Alien: Alien (1979),Aliens (1986) et Alien 3(1992) a partir de I'hypothese de Harold Schecter. Il a ecrit qu'une des sources du fantasme qui hante laSaga-Alien est la legende classique : serpent dans le ventre. Mais en meme temps,cette legende est nourrie abondamment d'un ressentiment contemporain contre les feministes americains des annees 70-90.Aux Etats-Unis,une des censures les plus severes sur les films est imposee par les feministes. Pour esquiver l'accusation feministe portee au nom de "la correction politique (politically correctness)",la Saga-Alien a employe la strategie de l'entrisme: jouer les feministes tout en les flattant excessivement. Au niveau narratif,les films de la Saga-Alien etaient absolument innocents: I'heroine (Ellen Ripley,astronaute) a gagne toutes les batailles sanglantes sur l' Alien, signe du desir sexuel masculin. Mais au niveau iconographique,la schema est completement renversee. L'heroine est convoquee au milieu de l'ecran seulement pour etre persecutee et punie au centre de tous les regards des spectateurs masculins.

著者

藏中 さやか

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

no.27, pp.119-135, 2013-03

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This paper concretely discusses various ways to take up The Izayoi Nikki by Abutsuni as a possible teaching material for `Classics A' or`Classics B' of high schools. Conventional education practices are broadly classified into 3 categories:(1) focusing on its aspect of traveler's literature;(2) connecting it with politics and societies of the Middle Ages; and (3) understanding that it is a piece of work that was influenced by Tales olIse. This paper advocates for the first time to take up The Izayoi Nikki as a teaching material to consider the ways of life of women,and shows learning plans for the first to third classes.

著者

難波江 和英

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.16, pp.121-142, 2002-03

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This monograph is the second part of the ongoing trilogy study on discourses of heterosexual love in J-POP.This part consists of two chapters titled "Boredom and Stimulation"and"Mole>Female'&'The Weak/ The Weak'"respectively.The first chapter shows that Japanese youth are now so much inficted with boredom that they are willing to gain ready-made simulation from their love relationships in an attempt to find a way out.As proved through analysis, their boredom derives neither from the lack of stimulation nor from the excess of stimulation but from the constant saturation of srimulation.Now that they are wealthy enough to fill their basic needs for life, they wish to gain even stronger stimulation in the easiest way possible, like having a chat through a mobile phone and finfing a girl/boy friend.The second chapter shows that a majority of young people in Japan are now fascinated by having a girl/boy friend, for they believe in the myth of "Almighry Love."In this belief, both girls and boys find the most dominant discourse of love in that love makes them stronger.This suggests in effect that they start their love relationships with an assumption that both of the couple are "weak."As indicated in J-POP songs such as "sweetness"by MISIA, "B'coz I love yuo"by Hitomi Yaita, and"A Boy"by Yuzu, however, their real problem lies in their bind conceming heterosexual love : they are tied not only to the newly devised discourse of "the Weak vs.the Weak"but also to the outdated discourse of "Male>Female"that has been carried over by the generation of their parents.It is shown in conclusion that these young people are trying are trying yo diminish the fearful space distancung the couple in order to be "one" all the time and thus find no apace left to place themselves as someone.Thus their love relationships are filled with an unprecedented sense of uneasiness emerging from the failure of living alone, addiction to codependency, and the resignation of being someone, Remedial methods to cope with these issues will be clarified in the final third part of this serial study on deiscourses of heterosexual love in J-POP.

著者

別府 恵子

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.7, pp.83-99, 1993-03

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Horatio abstains from felicity a while, entreated by his friend, to tell the story of Prince Hamlet. In the culture that loves its blond, blue-eyed children,who will tell the story of a black girl who dreams of having blue eyes so as to be loved? In Toni Morrison's The Bluest Eye(1970) Claudia MacTeers becomes to her friend Pecola what Horatio was to Prince Hamlet. The innocent blue-eyed baby doll given to little girls every Christmas becomes a potent cultural sysmbol in American society that loves its blue-eyed children; this image of beauty is then used against black girls and women who can never attain such image of beauty. They are told to be just like an innocent blue-eyed doll if they were to be loved. The world seems to be in conspiracy to control women within the narrow confines of their femininity, whispering to them: "It's best to be pretty-then you are assured of love and happiness. See the story of Cinderella?" Cinderella lived happily ever after with the Prince, we are told,because her foot fit into the glass shoe, in other words she is a blue-eyed beauty. The Bluest Eye is a tragedy of Pecola Breedlove who foolishly believed in the idea of physical beauty,"the most destructive idea in the history of human thought."Morrison's novel is also a story of Claudia Macteers,who sees through the destructive mechanism "the beauty myth"entails: how the images of beauty- the blue-eyed baby doll,the Shirley Temple milk cup, and many others-are employed to indoctrinate women,just as the idea of femininity used to,with "the myth of pretty woman"-woman's success story. A familiar story.

著者

上野 輝将

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.21, pp.1-48, 2007-03-31

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In 2003, Korean TV Drama Winter Sonata made a big hit in Japan, especially with middle-aged women. The audience were fascinated by a feeling of first love, beautiful music and enchanting scenes, a sense of cosmopolitanism, and the actor Yonsama. In contrast, many critics argue that the heroine Yujin is a woman of indecisive and selfish personality. Is this true? A close analysis of the scenario will prove it otherwise. It is that Yujin is portrayed as an independent and altruistic woman. This is why she goes through a psychological conflict, torn with anguish between two men. This is also the case with the hero Minyon=Chyunsan, who is distressed about his identity and altruism. Thus the story of ups and downs has attracted so many TV fans. Seen from a viewpoint of the relationship between the conservative and the progressive, this drama is produced under some influence of Korean feminism. It seems that this has made Winter Sonata more than a simple melodrama. The difference of opinion between the scenario writers (two young women) and the director, however, have kept the drama going within a moderate range of feministic influence. In consequence, this has led Winter Sonata to achieve even a greater success in Japan.

著者

藏中 さやか

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

no.29, pp.135-155, 2015-03

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I investigated `Hanada no obi', a poem with words generated partially from the lyrics of 'Saibara', which is a song in the Heian era, and its melody was made in line with the tunes of Gagaku.There have been preliminary studies which focused on and after the medieval period, but did not discuss in detail examples of their application in the central period of poem history. In this paper, I collected and analyzed examples of their application during the years 1000 -1200 to point out the changes, their background and the underlying reasons.At the beginning, the words implied a sense of difference between the sexes, and their usage is limited to situations where females give to males clothes and obis, and they were found in the waka from the former to the latter. This study, however, clarified that such tendencies disappeared by the end of the Heian era.I investigated `Hanada no obi', a poem with words generated partially from the lyrics of 'Saibara', which is a song in the Heian era, and its melody was made in line with the tunes of Gagaku.There have been preliminary studies which focused on and after the medieval period, but did not discuss in detail examples of their application in the central period of poem history. In this paper, I collected and analyzed examples of their application during the years 1000 -1200 to point out the changes, their background and the underlying reasons.At the beginning, the words implied a sense of difference between the sexes, and their usage is limited to situations where females give to males clothes and obis, and they were found in the waka from the former to the latter. This study, however, clarified that such tendencies disappeared by the end of the Heian era.

著者

浜下 昌宏

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.18, pp.101-115, 2004-03-31

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What do feminist art historians and gender critics intend to do? What will become of their activities in the future? Considering their development, we can detect three stages. The first can be called complementary one, that is, the claim of fair treatment of female artists in art historiography. Feminist art historians have made the greatest efforts to excavate women artists hidden or neglected deeply in history; most of them were, according to the claim, disregarded by male art historians. The second stage is that of disclosure, to expand historical topics discussed in the discipline of art history: those topics relating to motifs and subjects in terms female figures, e.g. Eve, Maria, Susanna in holy scriptures, and Venus, Diana in Greek myths. Also social problems around women, depicted in pictures such as the works in the Victorian Age, have been picked and treated to reveal the gaze and violence under the patriarchal system. Then, after "the complement" of the first stage and "the disclosure" of the second, the third stage may be that of challenge and confrontation against patriarchal regime all over not only in the art historians' society but also in society in general. The development of feminist art history and gender criticism has been mostly based on "constructivism", i.e. theoretical armament in defense of the rights, position and claim on the side of women.

著者

吉村 エリ

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.25, pp.147-162, 2011-03

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George Eliot was a woman writer active in the Victorian period when women writers were not favorably accepted. So Eliot masked herself as a male in order to become a novelist. The Mill on the Floss is often regarded as an autobiographical novel in which readers can appreciate something of Eliot's own experience through its heroine, Maggie Tulliver. Many critics have pointed out that Maggie finally returns to "the past represented by her brother Tom because Tom symbolizes the patriarchal system. However, feminist criticism insists that Maggie takes "unconscious" revenge on Tom at the end of the narrative, through causing their accidental deaths by drowning. The purpose of this paper is to show that this novel can be read as Maggie's rebellion against Victorian society by comparing Maggie with the idealized images of Victorian womanhood. First, I examine how Maggie satisfies her thirst for knowledge which was restricted for women through her relationship with Philip Wakem. Second, I analyze Maggie's defiance toward puritanical aspirations such as innocence and the repression of sexual passion. Maggie expresses her sexual passion when she falls in love with Stephen Guest, the fiance of her cousin Lucy, and she is labeled a "fallen woman" due to her escapade with Stephen. Third, I discuss Maggie's refusal to marry even though marriage was considered the safest way for women to choose at that time. Stephen proposes to Maggie on their escapade, but she rejects him searching instead for a life of independence. In the last chapter, Maggie received the letter from Stephen who still cannot give up marrying her and again she suffers ,In the middle of her suffering, she is killed by the sudden flood. This conclusion implies that she struggles with Victorian convention to the end. The Mill on the Floss can be read as the novel which Eliot offers a challenge to the ideal images of Victorian woman through the extraordinary behaviour of the heroine,Maggie Tulliver.

著者

横田 純子

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.17, pp.153-154, 2003-03-31

著者

國吉 知子

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.29, pp.23-49, 2015-03

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母と娘の関係性は身近なテーマであるが、心理学的な複雑さを内包している。近年では少子化の影響を受け、一卵性母娘など母娘の問題が家族の問題としてクローズアップされているが、実は童話や神話の中にも母娘のテーマは表現されている。本稿は、まず娘の母親への生涯にわたる依存性の高さと、62%の女性が母親に依存的であるという質問紙を用いた実証研究を概観した。次に深層心理学的観点から、母と娘に特有の親密性の高さと娘の自立の困難さについて、神話やディズニー素材(「白雪姫」「ラプンツェル」「リトルマーメイド2」「メリダとおそろしの森」「アナと雪の女王」)を取り上げ、それぞれの物語における母娘関係を分析し、これらに共通する興味深いパターンと、母娘の絆がいかに強く分離しにくいかを示した。さらに、母娘関係を深く理解するために、母親が娘をコントロールする無意識的メカニズム、すなわち、抑圧、同一化という自我の防衛機制や「母」役割が持つ献身の問題(斉藤 2008)を紹介した。特に、献身の問題については、マゾヒスティック・コントロール(高石 1997)の観点から論じ、その対処について述べた。その結果、女性の自立を考えるには、従来の男性の自立モデルとは異なる、女性特有の自立スタイルを考えることが重要であることが示唆された。The theme of mother and daughter relationships are familiar,however, these relationships contain many complex psychological factors. Recently, the increasing phenomenon of an overly intimate mother and daughter relationship, which is influenced by the declining number of children, has come into focus as a common family problem. However, we can find the same kind of relationship in many old tales and ancient myths. In this article, I first reviewed two survey-based psychological studies, which suggested that some daughters have a life-long dependency on their mothers,and that 62% of daughters have a tendency to depend on their mothers. Secondly, I assessed the strength of the bonds shared between mothers and daughters from the perspective of Depth Psychology. I also pointed out the difficulty of a daughter's separation and independence in a typical mother/daughter relationship, as can be seen in myths and Disney animations such as Snow White,Tangled,Little Mermaid 2,Brave, and Frozen. Lastly,to understand these phenomena, I introduced the theory of Saito(2008),who explained that mothers use ego-defense mechanisms, such as suppression and identification, to control their daughters.I also discussed the role of a mother's devotion from the theory of the "masochistic-control mechanism", which was developed by Takaishi(1997). I then described a way of coping with this unconscious control from mothers. In conclusion, I emphasized that there is a necessity for a new and more suitable model for a woman's original process of gaining independence, which is rather different from that of most men.

著者

渡部 充

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.7, pp.63-82, 1993-03

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The female characters of Mary Shelley's Frankenstein play essentially the same role of a subservient <Domestic Angel> and fall so vulnerably and innocently into the hands of the nameless creature,`Monster.'Such feminist critics as Moers,Poovey,Gilbert and Gubar,and Johnson, however, have shown that the male-dominance of the narrative and the monstrosity of the solitary heroes indicate that the consideration of relationship between<Woman Writer> and her text is very important to understand this seminal modern horror fully. This paper, drawing on the implicit metaphors of <Womb> on two levels of story-telling and of story-told, offers a new reading of Frankenstein. The monstrosity of the Monster, Victor, and Mary will respectively be shown as a head-on collision of the direct but ambiguous opposites, such as Creator/ Creature,Father/ Son,Culture/ Nature,(Woman)Writer/(Her) Text, and others. By acting out into the story her deep-felt antagonism between being forced to be a <Domestic Angel> and trying to be a <Woman Writer=Monster>,Mary, like Frankenstein himself, became a progenitor of herself, the author of Frankenstein. Her Monster,in its widest sense, represents the transgression of Frankenstein. Her Monster, in its widest sense,represents the transgression of the boundary between the level of human genealogy/ of story-told and the meta-level of super-human genealogy/ of story-telling. Thus, ati the end of the novel,the Monster is relieved from Mary's threefold narrative frame,to be her"hideous progeny"and"go forth and prosper" in this world of "Waking Dreams"

著者

原田 薫

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.28, pp.163-164, 2014-03

著者

横田 恵子

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.26, pp.178-182, 2012-03

著者

三島 亜紀子

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

no.15, pp.97-116, 2001-03

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Before committing suicide, Virginia Woolf wrote her memoir, "A Sketch of the Past,"in which she said that she was sexually abused by brothers-in-law in her childhood. Her experience as a sexually abused child has been discussed in Virginia Woolf studies. Most biographers think the experience had a great influence on her life and her works. For example, Dr.Emiko Kamiya, a well known psychiatrist, tried to explain Woolf's "insanity" and treated her as a patient of psychosis. This way of thinking can be considered as an outcome of development of Virginia Woolf studies in a sense when we read Quentin Bell's biography. Although Bell, Woolf's nephew, described her incestuous experience in it, he didn't mention the relationship between her "nervous breakdown"and the experience. Kamiya, whose understanding is different from Bell's, handled medical discourses for analyzing Woolf. Afterward, many theories based on diverse disciplines have been applied to interpreting Woolf's "madness,"and the "science of child abuse"has been adopted as well. Luise DeSalvo, one of the representative biographers of Woolf, depends on this new science. DeSalvo insists that Woolf was not a "lunatic"or a patient but a sexually abused child and "survivor." However, Virginia Woolf studies in Japan were limited in this respect because the "science of child abuse" has never been popular in Japan until guite recently. This paper illustrates various interpretations of Woolf's experience as a sexually abused girl and investigates the efficacy of these interpretations that are based on theories not of sexual abuse but of other disciplines.

著者

上野 千鶴子

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

vol.1, pp.53-60, 1987-03

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In Japan, there are a number of names for the studies on women carried out before Women's Studies(joseigaku) appeared. These include studies on problems of "ladies"(fujinmondai), studies on problems of women in general(joseimondai),and studies on women(joseikenkyu). What is the difference between these three types of studies of women and Women's Studies(joseigaku)? Because of the discriminatory nature of the term"ladies,"feminists do not like to use it. Secondly,studies on problems of women gives theimpression of dealing with women who have problems without questioning the society which put women into such situations. Unlike other studies on women, Women's Studies does question whether the perspective in a given study is free from the influence of the male-dominant culture. This is how Women's Studies differs from studies on women. The definition of Women's Studies given by Teruko Inoue as the discipline "for and by and of"women is not quite right,although I admire her Japanese translation of Women's Studies which is joseigaku, not joseikenkyu. The distinction between these three previous types of studies on women and Women's Studies is not only the inclusion of women as the object of study, although it is often thought to be this,but the perspectives which are taken for granted in pre-Women's Studies research,namely the assumption that all women should be housewives and they will be happy. We may find many studies on women done by women from men's views which they internalized. We have to keep in mind that if one can hold a shifted perspective on men and women,she(or he) certainly can do Women's Studies. (Summerized by the Institute)

著者

浜下 昌宏

出版者

神戸女学院大学

雑誌

女性学評論 (ISSN:09136630)

巻号頁・発行日

no.12, pp.127-148, 1998-03

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The story of "Dojoji"can be traced back to about one thousand years ago. At first it must have been only a legend, then a Buddhist priest adopted it in a collection of stories for Buddhism teachings. Even at this stage, there have been discovered several versions of the story different from one another in detailed descriptions, e.g. descriptions of the heroine. Handed down from generation to generation, it now has many versions in Noh and Kabuki. Thus,as a genre of artworks, the story has varied in many ways, and we generally know it as the love romance of "Anchin and Kiyohime." In this paper, I firstly show the genealogy of the story of "Dojoji" from legend to artistic forms of work, and analyse motifs inherent in the story such as the serpent, the metamorphosis, the woman and the monk, the Kumano region, the strong passion of the woman for love, flight and chase, and the bell of the Dojoji temple. Then, I emphasise the horrible elements in the story such as the atmosphere of the dark Kumano mountain forest, the mystic custom of worship of Gods of Kumano by pilgrimage, the sudden courting from a woman of the lodging on the way, unbelievable rage of the woman against the young priest for his "treachery,"the terrific figure of the serpent, the decisive pursuit by the woman to the end, and the killing of the man by burning and melting the bel. Finally, I inspect the various metamorphoses of the woman by examining the development of the legend into artistic forms of art, minute descriptions of the heroine and also a performance by an actor, in particular, that of Kabuki. By playing the role of the woman, an actor can show many facets of the character of a woman, typically embodied in the lady in the story of "Dojoji."