文献一覧: 慶應義塾大学日吉紀要. 言語・文化・コミュニケーション (雑誌)

10 0 0 0 IR 人類学の存在論的転回における概念創造という方法の条件と問題 : 創造から他律的変容へ

著者: 相原健志
出版者: 慶應義塾大学日吉紀要刊行委員会
雑誌: 慶應義塾大学日吉紀要. 言語・文化・コミュニケーション (ISSN:09117229)
巻号頁・発行日: no.49, pp.1-15, 2017

序1. 「存在論的転回」の焦点 : 概念創造2. 概念創造の条件3. 概念「創造」という問題 : 主体の弱さから4. 結論と展望

https://ci.nii.ac.jp/naid/120006399262

4 0 0 0 IR 明治時代, 東北地方における最初の女性写真師の足跡を辿って : 青森県弘前市と山形県酒田市の3人の写真師を中心に

著者: Gaboriaud Marie
出版者: 慶應義塾大学日吉紀要刊行委員会
雑誌: 慶應義塾大学日吉紀要. 言語・文化・コミュニケーション (ISSN:09117229)
巻号頁・発行日: no.53, pp.1-33, 2021

Amongst the new professions that emerged with the introduction of Western culture in late 19th century in Japan was that of commercial photographer. It was around this time that photography studios quickly spread across the country. While men predominated in this new profession, women also played an important role in the dissemination of photography. Most supported their husbands or fathers engaged in this work. Others, although few in number, made it their profession. In this study, we follow in the footsteps of three women who opened photography studios in two towns in the Tohoku region, Hirosaki (Aomori prefecture) and Sakata (Yamagata prefecture). The photographs that they left us constitute precious documentary records of the society and the culture of this period and allow us to reassess their extraordinary contribution to the dissemination of photography as pioneering women photographers at the local level.

2022-02-19 23:42:24
4 + 3 Twitter

https://ci.nii.ac.jp/naid/120007183141

4 0 0 0 OA 済州島の潜嫂共同体の生活と仕事 : 済州島の潜嫂が伝承した精神世界と生業を中心として

著者: 韓林花田中聡久朴原模
出版者: 慶應義塾大学日吉紀要刊行委員会
雑誌: 慶應義塾大学日吉紀要. 言語・文化・コミュニケーション
巻号頁・発行日: no.26, pp.97-119, 2001-04 (Released:2001-00-00)

第1章はじめに済州島の伝統女性社会第2章済州島の潜嫂と歴史第1節済州島における伝統的女性社会の2つの共同体済州島の自然環境と生活環境済州島女性の特性第2?節済州島の潜嫂の世界済州島の潜嫂の世界潜嫂の歴史潜嫂社会の位階秩序潜嫂の訓練・修練潜嫂の作業場における危険要素潜嫂の事故死と「ケダッキ」第3節済州島の潜嫂の世界二つの儀礼,彼女たちの祭り

2015-11-08 08:40:20
4 + 4 Twitter

http://jairo.nii.ac.jp/0050/00006676

2 0 0 0 IR アントニオ・カバニーリェスに見るスペイン・バレンシア地方イメージの形成

著者: 前田伸人
出版者: 慶應義塾大学日吉紀要刊行委員会
雑誌: 慶應義塾大学日吉紀要. 言語・文化・コミュニケーション (ISSN:09117229)
巻号頁・発行日: no.39, pp.71-86, 2007

1. はじめに2. 18世紀スペイン科学の制度化3. バレンシア旅行のカバニーリェス4. まとめ

2021-04-19 03:45:06
2 + 0 Twitter

https://ci.nii.ac.jp/naid/120000801550

2 0 0 0 IR イェイツ,あるいは洞窟の神話学

著者: 萩原眞一
出版者: 慶應義塾大学日吉紀要刊行委員会
雑誌: 慶應義塾大学日吉紀要. 言語・文化・コミュニケーション (ISSN:09117229)
巻号頁・発行日: no.43, pp.17-35, 2011

The aim of this paper is to demonstrate the relationship between "the Cave of Mithra at Capri" Yeats visited in1925 and "that curious cave" in Botticelli's painting Mystic Nativity (1501) in the National Gallery of London, and to propose their possible connection with Porphyry's treatise On the Cave of the Nymphs.This paper first discusses Porphyry's discourse. It interprets 11 verses of Odyssey in which Homer describes the cave of the water-nymphs on the island of Ithaca as an allegory of the soul's cycle of descent and return. Yeats might have read Porphyry's exposition through the translation made by the English Platonist Tomas Taylor. Porphyry's Neoplatonic view of Homer's cave is epitomized in Kathleen Raine's illuminating remark: "Porphyry's cave is the womb by which man enters life; but, seen otherwise, it is the grave in which he dies to eternity."Secondly, this paper refers to Yeats's visit to the Mithraic cave of Capri. Yeats and his wife Georgie first travelled to Sicily, where they joined the Pounds, and then to Naples and Capri. Pound remembered Yeats trying out the acoustics at the amphitheatre near Syracuse, and staring in wonder at the "golden mosaic" of the superb Byzantine walls at Monreale near Palermo. Unfortunately, there is no photographic record of the poet's visit to Capri, only the recollections recorded in the prose of the Dedication to A Vision and in the note discussing his visit to the cave. Yeats recollects the details he observed: "When I saw the Cave of Mithra at Capri I wondered if that were Porphyry's Cave. The two entrances are there, one reached by a stair of 100 feet or so from the sea..., and one reached from above by some hundred and fifty steps...." Yeats clearly links the Mithraic cave having "two entrances" with "Porphyry's Cave" telling the cycle of generation.Thirdly, particular attention is paid to Botticelli's Mystic Nativity. According to Yeats, the inscription at the top of the picture says that "Botticelli's world is in the 'second woe' of the Apocalypse," and that "after certain other Apocalyptic events the Christ of the picture will appear." Botticelli's work reflects catastrophic expectations at the end of the 15th century which echo the rebellious Dominican priest Savonarola's apocalyptic visions. In conclusion, Botticelli's use of the "curious cave" located at the centre of Mystic Nativity seems an appropriate way of symbolising "Porphyry's Cave" as a metaphor of the world of matter into which the souls are incarnated.