著者

松尾 剛次

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = BULLETIN OF YAMAGATA UNIVERSITY. HUMANITIES (ISSN:05134641)

巻号頁・発行日

vol.20, no.1, pp.1-24, 2022-02-28

著者

松尾 剛次

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = BULLETIN OF YAMAGATA UNIVERSITY. HUMANITIES (ISSN:05134641)

巻号頁・発行日

vol.20, no.2, pp.78-65, 2023-02-28

著者

相沢 直樹

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = Bulletin of Yamagata University. Humanities

巻号頁・発行日

vol.16, no.3, pp.1(118)-31(88), 2008-02-15

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The goal of this paper is to present research of the “Gondola Song” (Gondora-no Uta : words by Isamu Yoshii, music by Shinpei Nakayama), which was one of the most popular songs in the Taisho era and continues to be one of the most well-loved songs even today. The “Gondola Song” is famous for its strikingly simple and straightforward opening message : ”Life is so short. Do love, young girl!” It was originally written for the 1915 performance of Turgenev's “On the Eve” by Art Theater (Geijutsu-za) in Tokyo and was sung on the stage by the famous actress Sumako Matsui. In this paper, we shall examine the following points: 1) To confirm the text of the Song and restore the original text in the stage scenario if necessary. 2) To compare Yoshii's text with that of Ogai Mori's translation of “Venetian Song” , which is inserted into H. C. Andersen's “Improvisator”. 3) To investigate the background of Yoshii's writing of the Song (including the fact of his borrowing from Ogai's “Improvisator” ). 4) To reveal the rhetoric and technique of Yoshii's text as a verse. 5) To examine in what way and to what extent the introduction of the Song into the drama depends on Turgenev's original novel and its translation by Gyofu Soma. 6) To describe specific features of Nakayama's melody from a viewpoint of Japanese and European music while referring to Japanese culture of the Taisho era. Yoshii's now almost unknown open letter to Matsui is also introduced and examined in detail in this paper. Finally, some reflections of the “Gondola Song” in the area of so-called subcultures, such as animations and computer games, in the Heisei era are introduced proving both the longevity of the Song and the magical power of its words .

著者

粟野 宏

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = Bulletin of Yamagata University. Humanities

巻号頁・発行日

vol.16, no.1, pp.1(196)-11(186), 2006-02-15 (Released:2015-08-21)

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Gutenberg's. system of technique did spread all over the western world, as soon as it was established in the first half of 15th Century. Compared with the arts of typographic printing in West Europe, they were established much earlier in East Asia, but they did not spread all over East Asia. The situation that was ever seen in the East is in sharp contrast to the situation in the West. It has been repeatedly said that, in order to explain the contrast, the predominant factor is the difference of writing systems, simple alphabetical one being used in the West and complicated Chinese characters as ideograms and hieroglyphs. Nevertheless, We discuss here additional significant factors which are inherent within the technological context. Both the clay (ceramic) movable-types, invented in China four centuries before the Gutenberg revolution, and the wooden movable-types, succeeded to be utilized in China in the early 14th century, were fabricated without molds one by one. The metal movable-types, first initiated in Korea in 13th century, were cast with prototypes and matrices, but the prototypes made of beeswax or paraffin wax completely melted down and the matrices made of clay or sand were destroyed on each occasion. On the contrary, both the prototypes (punches) and matrices in the Gutenberg technical system could be used repeatedly and almost permanenently. Thus, thd Gutenberg technical system has gained a higher ripeness of reproduction technology. Such difference has determined the ups and downs of early arts of typographic printing in the East and the West.

著者

奥村 淳

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = Bulletin of Yamagata University. Humanities

巻号頁・発行日

vol.17, no.1, pp.39-78, 2010-02-15

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Hier soll versucht werden, Stoffe und Motive fur Dazais Novelle "Hashire Merosu" (Renne, Moros!) zu analysieren und anderes literarisches Material vorzustellen als bis jetzt. Dazai selbst hat am Ende dieser Novelle eine alte Legende und ein Gedicht von Schiller genannt, namlich eine Fabel des griechischen Schriftstellers Hyginus und Schillers Ballade "Die Burgschaft" (spater "Damon und Pythias") Als Schuler soll Dazai in einem japanischen Lehrbuch diese Fabel gelesen haben. Doch git es Elemente, die weder bei Hyginus noch bei Schiller gefunden werden. Diese sind bei einem irischen Dramatiker zu finden. Es handelt sich um John Banim(1798-1842) und seine Tragodie "Damon and Pythias"(1821). Dazai hat anscheinend aus Banims Drama Handlungen entliehen. In diesem Drama werden von Konig Manner geschickt, um Damons Ruckkehr zu behindern. Bei Dazai halt "Merosu" die Rauber, die ihn angreifen und ermorden wollen, fur konigliche Soldaten. In Pythias kommt ein Zweifel an die Ruckkehr seines Freundes auf, als der Sonnenuntergang naht und Damons Gestalt nicht zu sehen ist. Beide Freunde bei Dazai, "Merosu" und "Serinunteusu", fangen aneinander zu zweifeln an. Banims Tragodie hatte auf azais "Hashire Merosu" unmittelbaren Einfluβ.Weiterhin wird versucht, Schillers Ballade "Die Burgschaft" und Dazais "ashire Merosu" vergleichend zu analysieren. Daraus geht hervor, dass Dazais Novelle nicht nur eine "bidan(美談)", also eine anruhrende morarische Fabel, sondern auch eine politische Orientierung enthalt.

著者

佐藤 清人

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = Bulletin of Yamagata University. Humanities

巻号頁・発行日

vol.15, no.2, pp.123(198)-136(185), 2003-02-17

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'Picture Brides' are issei women who went over to the United States to marry husbands they knew only from photographs. The picture marriage was a convenient way for issei men to marry and raise families in their settled land, for it spared them the cost and trouble of retuming to Japan. Though a variation of Japanese traditional marriage customs, the picture marriages were attacked by the exclusionists as proof of Japanese immorality and savagery and were bamed by the Japanese govemment afterward. Now, the picture brides often found that the men they had just married were enormously different from the photos they had seen. The men often sent photographs of their younger selves or even someone else. They also often exaggerated their personal lives in America, claiming to be hotel owners and farmers, though they were only busboys and farmhands actually. As expected, some women refused to marry their husbands and demanded to be taken back to Japan. Others, who remained in America, left their husbands for other men in following years (kakeochi). The majority of brides, however, endured happily, improving the situation they faced. From historical point of view, the picture brides have beenbroadly classified into the two types of women:one is the doomed woman who deserted her husband and children and then had to be sublect to ostracism by the community, and the other is the blessed woman who bore her plight and helped to build the foundation of Japanese American families and communities. The actual situation around the picture brides, however, is more complicated and even contradicted. In her novel Picture Bride, Yoshiko Uchida resists such simplification of images of picture brides. Hana Omiya, one of picture brides and heroin of the novel, marries Taro Takeda. In their first encounter, she is shocked that her husband looks older than his photo. Before long she comes to love Kiyoshi Yamaka, a friend of Taro, who is younger and more amiable than her husband. Although Taro suspects his wife' s love affair, Hana dispenses with elopement by the abrupt death of Yamaka. After that, she becomes an obedient wife to Taro by helping him keep his pride but she can not fully enjoy a happy life of housewife, for he never forgives her for loving other man. The movie Picture Bride, directed and scripted by Kayo Hatta, represents an idealized version of picture marriage. Riyo, agirl of 16, marries Matsuji, who is 43, of almost the age of her father. The age difference between them causes her to demand to return to Japan. Living together, Riyo begins to show affection for Matsuji and at last they are united both spiritually and physically. The story of the movie is excessively idealized and beautified, wanting actual reality. But we find a distinct feature in the heroin's career that has been seldom recognized in most of picture brides. Riyo had a secret that her parents both had died of tuberculosis that was thought of as a hereditary disease at that time. It is a new discovery that picture bride herself may have deceived her future spouse. Riyo is never stereotyped as a picture bride.

著者

清塚 邦彦

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = Bulletin of Yamagata University. Humanities

巻号頁・発行日

vol.15, no.1, pp.41(268)-74(235), 2002-02-15

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This paper is a sketch for the philosophical theory of pictorial representation. After introducing the theme of pictorial representation, I shall divide my arguments into two parts. The first part (sec.2-4) contains a series of critiques against ”eliminativist” theories of pictorial representation. By ”eliminativism” I mean those theories which do not recognize the factuality of perception peculiar to pictures at face value. I criticize three theories in particular as specimens of eliminativism: Illusion theory, resemblance theory and convention theory (or semiotic theory). In the second part (sec.5-6), I give an outline of an anti-elimitativist theory of pictorial representation. The theory insists on two points, each of which forms, respectively, a ”natural” and an ”artificial” aspect of the concept of pictorial representation. The first point is that picture perception (perception of images in pictures) is grounded on the twofold operation of the natural abilities of perceptual recognition at a subpersonal level. When we see a picture of a horse, the fact of our looking at the picture triggers, at a sub-personal level, not only the perceptual ability to recognize a plain surface but also the perceptual ability to recognize a horse. As a result, we get a twofold visual experience: what we see is a plain surface of course, but in seeing it, we cannot but have an impression that it is as if we were looking at a horse. This kind of experience is not to be dismissed as mere illusion. It is a natural and normal product of our senses. The second point is that in order that images in pictures get peculiarly representational character, they must be combined with what R.Wollheim called ”standard of correctness”. When we see a natural object (say, a stump in the woods) that happens to look like a bear, we do not say that it ”represents” a bear. It can only be said to ”look like” a bear. But when we see a bear in a picture, we not only say it looks like a bear, but also say that it is, or ”represents”, a bear. And, if someone says that it represents something else, we think that at least either of us must be wrong. Judgements about the representational content of a picture obeys a certain standard which dictates that some judgements are correct and others not. Elucidation of the nature of such standards of correctness forms another essential part of the theory of pictorial representation.

著者

清塚 邦彦

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = Bulletin of Yamagata University. Humanities

巻号頁・発行日

vol.15, no.2, pp.19(302)-50(271), 2003-02-17

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In a series of papers, Kendall L. Walton argued that photographs are like mirrors, glasses, telescopes and microscopes, in that they function as ”aids to vision” and that, in this respect, they are sharply contrasted with hand-made pictures, such as drawings and paintings. Walton expressed this point by saying that photographs are ”transparent pictures” while hand-made pictures are not. This I call ”transparency thesis”. This is an elaborated form of a widely held opinion that photographs are intrinsically realistic because of their mechanical origin. In this paper, I examine objections raised against Walton's thesis and argue that the thesis is still a promising hypothesis about the nature of photographs as well as the concept of perception in general.

著者

清塚 邦彦

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = Bulletin of Yamagata University. Humanities

巻号頁・発行日

vol.18, no.1, pp.1-39, 2014-02-15

著者

小熊 正久

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = Bulletin of Yamagata University. Humanities

巻号頁・発行日

vol.15, no.2, pp.1(320)-17(304), 2003-02-17

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The theme of this paper is to understand the relations of Merleau-Ponty's two major works, ”the Structure of Behavior” (SB.,1938(completion)) and ”Phenomonology of Perception” (PP.,1945). According to Geraets' interpretation, after his completion of SB., the new vistas opened by the reading of Husserl challenged Merleau-Ponty and beckond him onward. But I think his interpretation did not sufficiently regard the circumstances that in the PP. Merleau-Ponty preserved the fundamental thought of SB. and that not only Husserl's works but also this thought determined his understanding of phenomenology and human body deeply. I show this in the following order. 1. Exposion of the fundamental thought of SB. (the concepts of 'integration' and 'structure'). 2. Merleau-Ponty's considarations on methodology in the end of SB. 3. His understanding of 'sensation' and 'meaning' in the ”introduction” of PP. 4. His understanding of the field of Phenomena and phenomenology in the ”introduction” of PP.

著者

伊藤 豊

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = Bulletin of Yamagata University. Humanities

巻号頁・発行日

vol.17, no.1, pp.21-37, 2010-02-15

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The American Board of Commissioners for Foreign Missions (ABCFM) was one of the largest Protestant missionary organizations active in Meiji Japan. The Japan Mission of the ABCFM gained a considerable following in the Kansai area, thus succeeding in establishing its sphere of influence there. The Japan Mission’s stronghold was the Doshisha School of Theology in Kyoto. The ABCFM missionaries in Kyoto also worked as teachers at other Doshisha schools. Doshisha eventually developed into one of the most prestigious private universities in Japan. Because of this particular background and setting, the present-day Doshisha University has become a major depository of historical papers relating to the Japan Mission. When I attended a research meeting at Doshisha several years ago, I was introduced to bundles of old, unsorted letters and documents that had long been left untouched in a storage cabinet. After only a glance I realized that in all probability they should be regarded as a constituent part of the Doshisha-owned Japan Mission papers. Nevertheless, no other scholars had ever bothered to examine their contents and details until I volunteered to do so. After a painfully time-consuming process of sorting and indexing, I have found that these materials numbering over 3,000 are tremendously informative sources on the history of the Japan Mission. Their most remarkable academic merit is that they include a variety of newly discovered manuscripts. Especially important among them are more than 2,000 pieces of correspondence from the ABCFM missionaries in Japan to Dewitt C. Jencks, who acted as the secretary of the Japan Mission from 1877 to 1887. Now that the indexing is nearly complete, I offer in this article an overview of these long neglected documents, and then demonstrate their historical significance.

著者

清塚 邦彦

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = Bulletin of Yamagata University. Humanities

巻号頁・発行日

vol.18, no.1, pp.1-39, 2014-02-15

著者

園田 博文 全 成燁 国実 久美子 百留 康晴 百留 恵美子

出版者

山形大学

雑誌

山形大学紀要. 人文科学 = Bulletin of Yamagata University. Humanities

巻号頁・発行日

vol.16, no.3, pp.81(38)-94(25), 2008-02-15

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This article addresses the misunderstandings and problems that can be caused by the use of similar Chinese characters standing for such things as positional titles, and the names of organizational subdivisions. The countries involved were Japan, Korea China and Taiwan. We attempt to compare these academic terms from the four countries by dividing them into three sub-groups: Terms related with classes and administration; terms related with academic department structure and curriculum; and terms between related with status and position. International academic exchanges make it necessary that the discrepancies in terminology be mapped. We suggest further study in this direction. This article discusses the current situation, including the difficulties facing international academic exchanges from the point of view of Inje University, a sister university of Yamagata University. Even though it is a long process to become a sister university, there are additional practical problems in performing the administrative work of exchanging students. For example, the transfer of credits or grades between universities is made difficult by the differences in academic terms. It also requires the adoption of new guidelines in considering each university’ s grading policies. In addition, this article examines the programs and activities related to international student exchanges and reports on the instruction of student theatrical activities and speech contests performed in the Japanese language. We conclude that it is necessary to collect practical case studies and analyze the causes of misunderstandings in order to determine proper solutions and better facilitate international relations. Furthermore, it is necessary to increase and continue additional academic research in this area. 【キーワード】大学用語、日韓中台語彙対照研究、大学間協定校、国際交流、日本語教育