著者

池 明観

雑誌

東京女子大學附屬比較文化研究所紀要

巻号頁・発行日

vol.48, pp.135-160, 1987

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Historiography in Korea was very much affected by Japanese colonial rule, 1905 to 1945. Some historians were inclined to describe the contemporary history of Korea using a kind of eye-witness report style. Others focussed on finding a glorious period of national history to maintain national pride. These historical writings could be regarded as nationalist histories. Shin Chai-ho and Choi Nam-sun devoted themselves mainly to Korean ancient history, tracing back to the mythological age of Dangun. Shin and Choi had in common the purpose of resisting the historiography of Japanese scholars writing about Korea who claimed that Korea had been under the sovereignty of China without having its own independence, and even that for some time in ancient times Korea had been ruled by Japan as well. Shin described Dangun as ancient kings who had also been priests. He said that the dynasty lasted about 1500 years and was followed by the Puyo dynasty, which ruled for another 1000 years. Geographically, these dynasties covered the north-eastern part of China and Korea. They kept their people in continuous struggle with the Chinese people. Shin declares that most of these historical facts were lost because the oldest history, the "Samkuk Sagi" was written in the 12th century by Kim Bu-shik, a Confucian and loyal to Chinese culture. Thus he eliminated and distorted many historical facts of ancient Korean times, according to Confucian principles. Shin attempted to document historical facts of ancient times, so as to maintain national pride, using fragmented records he found mostly in Chinese historical materials. In doing so, Shin interpreted Korean history in political terms. He hoped to strengthen the patriotism of the Korean people so that they might win their national independence. He was in exile from 1910 until 1936, when he died in a Japanese prison in Manchuria. On the other hand, Choi, who was ten years younger than Shin, inherited Shin's attitude towards Korean history, but he gradually tended to interpret Korean histor

著者

渡辺 正雄

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.14, pp.47-66, 1962-11

著者

今井 宏

雑誌

東京女子大學附屬比較文化研究所紀要

巻号頁・発行日

vol.35, pp.1-19, 1974-01

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This is a sequel to my two previous articles, "Japanese Views on the English Revolution in the Meiji Era", (Publications of the Institute for Comparative Studies of Culture, Vol. 26, 1968) and "Japanese Views on Puritanism in the Meiji Era" (Ibid., Vol. 32, 1972). In the former articles, I made surveys on books which contributed to develop Japanese understanding of the Revolution in the 17 th century England and then I laid stress on the point that the knowledge of the English Revolution in Meiji Japan was an adaptation of the Whig interpretation of British history to the Japanese political situation of the time. From this point of view, to know how this interpretation of British history was introduced into Meiji Japan would be one of the essential problems, but it is strange enough that we cannot find out in the Meiji era any translation of the most important historical book of the school, T. B. Macaulay's History of England. In his autobiography, Sohd Tokutomi, the leader of the Minyu-sha group and later days ultra-nationalist, remembered his enthusiastic reading of Macaulay's Essays and History in his youth. We can easily perceive that his early writings were deeply influenced by Macaulay's interpretation of history, because Tokutomi not only shared the optimistic progressivism with him but also used such clear-cut two-polars conceptions as good and evil, liberty and tyranny and so on. In 1890 the first Japanese biography of Macaulay was written by Yosaburo Takekoshi, one of Tokutomi's partners, but though being a good introduction to Macaulay's personality and achivements, this biography clearly depicts him as a historian who wrote history with an excellent literary talent but undeservedly neglects to consider the significance of his logics. This one-sidedness of the introduction of Whig interpretation has cast its shadow over the Japanese understanding of British historiography.

著者

小川 圭治

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.39, pp.21-46, 1978-01

著者

小川 圭治

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.38, pp.32-48, 1977-01

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Hong De Yong (洪大容1731〜1783) was an excellent encyclopedist and scientist who played an active part in the scientific history of Korea. According to his concept, the universe is infinite and boundless with countless stars filling it up. This is almost equal to J. Bruno's concept of the universe. This article aims to introduce an outline of his theory of the infinite universe which is developed in his work called "Yi Shan Wen Da" (〓山問答), and to investigate its origin. My conclusions are as follows. 1. His theory is based on The Hsiian Yeh Teaching (宣夜説), which was one of the ancient Chinese cosmologies. 2. His theory destroyed the traditional theories such as the cosmic dual forces (陰陽説) and the five natural elements (五行説) by difining the relation between the sun and the earth.

著者

北條 文緒

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.51, pp.61-78, 1990

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This essay traces how the theme of time travel has unfolded in English children's novels of this century. I have chosen to examine some examples which particularly deal with the theme from a moral point of view, trying to bring into harmony the two worlds, the present and the past, and to show readers their location in the continuity of history. They are Frances Hodgson Burnett, The Secret Garden, Alison Uttley, A Traveller in Time, Lucy Boston, The Children of Green Knowe, Phllipa Pearce, Tom's Midnight Garden, and some books for children by Penelope Lively. Before considering each work, I offer a brief survey of the background against which the time travel motif in children's literature should be considered. One feature is picked out for special attention: in the transition from Victorian to Edwardian literature it may be observed that the Victorian sense of the solidity of the visible world is encroached on by a sense of the unseen, the sense of another world which exists outside time. I also point out that in some stories the 'other world' is the world of the past, a world which no longer exists but proves nonetheless to be as real as the actual world. In the discussion of the books mentioned above, my points are as follows: The Secret Garden, though it has no claim to be considered in the context of this discussion, is noteworthy, because in this story all the devices, or settings, of those stories of time fantasy written more or less with moral intent are present; the juxtaposition of two worlds so different from each other that people recognize the people from the other world as ghosts; the physical or emotional isolation of the children who are the main characters; the experience of gaining strength and maturity through meeting and developing an intimacy with people from the past; various objects which have survived from the past telling them that the past was certainly there; and finally the mother figure who has a close relation to the world of the past and who serves as a mentor and protector of the children. In A Traveller in Time and The Children of Green Knowe, picturesque and poetic images of the people of far-gone times are beautifully created, but nostalgic longing for the past (though it is an understandable impulse at the time when England was going through various kinds of transformation) is too strong in the authors so that, despite the fact that the children finally come back to the present-day world and take their place in it, our overall impression is that the children remain suspended between the two worlds with their hearts still on the shadowy figures of the other world. It must also be noted that in these books the children are not simply ghosts in the eye of the people of the 'other world'; they acquire their own identity by becoming one with somebody from that world. Tom's Midnight Garden introduces a new aspect by dealing with the nearer past, which still remains in the memory of some living people; the Victorian garden where Tom plays with Hatty is the world of Hatty's memory into which Tom is admitted. However, if Hatty and Tom meet in her dream, which is her memory, why is it that Tom, when he gets back to his own time, finds under the floor of his room a pair of Hatty's skates with Hatty's note saying she is leaving them to the boy whom she once met? Tom brings the skates back to the other world, and the two of them skate side by side, each wearing the identical shoes. This use of the two pair of skates has often been criticised as a flaw in this almost flawless masterpiece. My argument is that the pair of skates which has broken through, as it were, the wall dividing the timecontrolled and the timeless worlds might be regarded as an objective correlative of the intensity of Hatty's memory. The two pairs of skates stand for the independent identities of Hatty and Tom, ensuring Tom's firm footing in his own world while leaving him something solid by which to remember to the bliss of his midnight garden. The essay ends by making a brief survey of the books for children by Penelope Lively, who in her constant return to the theme of the past and the present is the most obvious successor of the above-mentioned children's novelists. It illustrates how such books as The Driftway, The House in Norham Gardens and A Stitch in Time embody her message that, while it is only through personal memory that we have authentic access to the past, we nonetheless must live in history accomodating all changes. The argument concludes by considering how the traditional devices established in The Secret Garden have been handed down, modified and transformed, right through to the present day novels for children.

著者

松川 成夫

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.13, pp.1-20, 1962-06

著者

佐藤 宏子

雑誌

東京女子大學附屬比較文化研究所紀要

巻号頁・発行日

vol.34, pp.23-36, 1973-03

著者

名倉 英三郎

雑誌

東京女子大學附屬比較文化研究所紀要

巻号頁・発行日

vol.45, pp.71-80, 1984

著者

白石 喜彦

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.44, pp.24-36, 1983

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When YASUDA Yojuro entered into literary world with the publishment of a literary coterie magazine, Cogito, he was concerned with literary criticism, theory of writing and its practice. It was his belief that he should cultivate his literary mind in these three fields at the same time. After publishing Nihon Roman Ha (so-called Japanese Romanticism), however, he devoted himself only to criticism and established himself asacritic. The theme of this paper is, then, how the three fields were related to each other when he entered into literary world, and why the theory and the practice of writing came to a cessation. YASUDA's criterion of literary criticism had something to do with the enjoyment of literary qualities, that is, identity of aesthetics. It was an antithesis to the Marxism theory of literature in which people criticized literary works according to the external criterion, not the internal one. He wrote a few novels practising his own theory, but they were not more than just a practice in writing. However, it was these novels, which were far from what is called a novel, that his own theory of writing required, and it was his motif to reform the concept of novels at the time by applying theories of German Romanticism; he considered German Romanticism the origin of notions of art and criticism. The reason that he stopped working on the theory of writing and its practice was simply because his theory was not powerful enough to produce novels. His theory was constructed logically only by his passion for an innovation. When he could not find a motif and theme for his novels, his literary energies which were directed to the theory, writing and criticism at the beginning were concentrated exclusively on the field of criticism.

著者

貝出 寿美子

雑誌

東京女子大學附屬比較文化研究所紀要

巻号頁・発行日

vol.28, pp.1-26, 1970-03

著者

太田 浩子

雑誌

東京女子大學附屬比較文化研究所紀要

巻号頁・発行日

vol.47, pp.95-104, 1986

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Tatsu no ko Taro [Taro the Dragon Boy] is an lengthy imaginative children's story written by MATSUTANI Miyoko. Into this story the author has woven legends on Koizumi Kotaro who controls water, transmitted in Shinshu [Nagano Prefecture], as well as a number of legends and folk tales of other parts of Japan. It is a representative work of postwar Japanese juvenile literature which has been continuously finding new readers among the Japanese children since its first publication in 1960. Taro, the hero of the story, is a spirited boy, born of a mother who had been transformed into a dragon. He wrestles with animals. He expels ogres who have been tormenting people. He cultivates the paddy field and harvests rice. Through these and other experiences, he grows and comes to entertain an aspiration that, by draining a lake, he can create a vast track of new arable land for people of poor mountain villages. With the help of his dragon mother, he manages to realize this dream by demolishing mountains to let the water of the lake escape into the sea. A central thread of this story of growth is the hero's tenderness. Folk tales and legends which are transmitted orally tend to become fragmentary, and their characters are often stereotyped. MATSUTANI Miyoko, the author, came across the legends of Koizumi Kotaro in Shinshu during her journey to search and record folk tales. On the basis of them but with a hope to "make the Taro [i.e. Kotaro] of Shinshu into a Taro of entire Japan, " she lavished her imaginative power on the creation of the hero, Taro, the dragon boy with a great success. The plot and the growth of the hero are closely knit in this story, and the cheerful optimistic hero is given a unique credible personality. Aiming at creating a new literary work which is at the same time anchored firmly in tradition, the author has managed to create in this story an attractive hero who strikes a responsive chord in the hearts of all children. She also has taken great pains to devise a suitable "narrative" style in order to

著者

太田 浩子

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.47, pp.95-104, 1986

---

Tatsu no ko Taro [Taro the Dragon Boy] is an lengthy imaginative children's story written by MATSUTANI Miyoko. Into this story the author has woven legends on Koizumi Kotaro who controls water, transmitted in Shinshu [Nagano Prefecture], as well as a number of legends and folk tales of other parts of Japan. It is a representative work of postwar Japanese juvenile literature which has been continuously finding new readers among the Japanese children since its first publication in 1960. Taro, the hero of the story, is a spirited boy, born of a mother who had been transformed into a dragon. He wrestles with animals. He expels ogres who have been tormenting people. He cultivates the paddy field and harvests rice. Through these and other experiences, he grows and comes to entertain an aspiration that, by draining a lake, he can create a vast track of new arable land for people of poor mountain villages. With the help of his dragon mother, he manages to realize this dream by demolishing mountains to let the water of the lake escape into the sea. A central thread of this story of growth is the hero's tenderness. Folk tales and legends which are transmitted orally tend to become fragmentary, and their characters are often stereotyped. MATSUTANI Miyoko, the author, came across the legends of Koizumi Kotaro in Shinshu during her journey to search and record folk tales. On the basis of them but with a hope to "make the Taro [i.e. Kotaro] of Shinshu into a Taro of entire Japan, " she lavished her imaginative power on the creation of the hero, Taro, the dragon boy with a great success. The plot and the growth of the hero are closely knit in this story, and the cheerful optimistic hero is given a unique credible personality. Aiming at creating a new literary work which is at the same time anchored firmly in tradition, the author has managed to create in this story an attractive hero who strikes a responsive chord in the hearts of all children. She also has taken great pains to devise a suitable "narrative" style in order toallow children to have an easy access to the world of folk tales through it. In this essay, through the examination of the author's intention, the characterization of the hero, and the style, I have tried to demonstrate that Tatsu no ko Taro really succeeds in building a bridge between the world of folk tales and the children of today, which, in my opinion, is one of the important roles Japanese juvenile literature can play.

著者

副田 義也

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.47, pp.75-93, 1986

著者

中村 ちよ

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.45, pp.17-35, 1984

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Pearces "Tom's Midnight Garden" und Endes "Momo" gehoren beide zum Genre der Phantasieliteratur. Sie haben Zeitprobleme als Hauptthema, aber ihr Wesenscharakter unterscheidet sich von der "time fantasy", die in der englischen Kinderliteratur ofters vorkommt. Diese Zeitphantasie funktioniert derart, dass die Hauptfiguren der Werke sich zwischen der Gegenwart und der Vergangenheit bzw. der Zukunft hin und her bewegen, und dass die dadurch entstehenden Ereignisse sich um so interessanter gestalten. Die Werke der oben genannten Autoren behandeln jedoch die "Zeit" selbst als Hauptthema. Sie stellen die innere, subjektive Zeit der physischen, objektiven gegeniiber und entwickeln daraus ihre Handlung. Die Hauptperson im "Tom's Midnight Garden" vergleicht die Zeit des alltaglichen Lebens mit der geheimnisvollen Zeit der Mitternacht, die die Erinnerungen einer alten Frau beherrscht. Dadurch wird versucht klar zu machen, was die Zeit eigentlich ist und wie sie tatsachlich wirkt. Pearce beabsichtigt in ihrem Buch, die unfassbare Zeitstromung zu verbildlichen und zugleich die innere Zeit zu verwirklichen. In dieser Hinsicht erinnert das Buch an Prousts "A la Recherche du Temps perdu". Das Zeitproblem, eines der grossten in der europaischen Literatur des 20. Jahrhunderts, ist durch dieses Werk meines Wissens zum erstenmal in die Jugenddichtung aufgenommen worden. Ende kontrastiert ebenso wie Pearce die Uhrzeit mit der psychischen Zeit, die mit dem menschlichen Herz wahrgenommen wird, und lasst die Romanheldin dariiber nachdenken, was das Wesen der Zeit ist. Es sei bemerkt, dass Ende sich zu diesem Problem mehr vom philosophischen und allegorischen Standpunkt aus verhalt. Er kommt dann zu der Erkenntnis : Zeit ist Leben. Damit erklart er die Uberwindung der physischen Zeit. In diesem Sinne steht er offenbar in enger Beziehung zu Rilkes Auffassung in den "Aufzeichnungen des Make Laurids Brigge". Die Gedanken, "Zeitkapitalist" und "Zeitbank", rufen mir jene Stelle von Nikolaj Kusmitsch in den "Aufzeichnungen" ins Gedachtnis zuriick. Die Einfuhrung des inneren Zeitbewusstseins in die Jugendliteratur kann nicht beziehungslos mit dem sich immer intensivisierenden materiellen und geistigen Druck der Leistungsgesellschaft auf einzelne Individuen sein. Dieser Zug verstarkt sich trotz des wirtschaftlichen Gedeihens besonders nach dem Ende des Zweiten Weltkriegs und diese Krise dringt sogar in das Leben der Kinder. Das Werk Endes gibt uns zu verstehen, dass es uber die physische Zeit hinaus eine durch das Herz empfundene Zeit gibt, und dass die richtige Erfassung dieser Zeit die Innewerdung des wahren Lebens bedeutet.

著者

青木 茂

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.26, pp.37-65, 1968-11

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Die Philosophie des Rationalismus im 17 Jahrhundert bestimmte das Problem "Was ist Mensch" nicht unmittelbar sondern mittelbar durch den allgemeinen Strukturzusammenhang des Seienden, das das menschliche Dasein selbst uberstiegt. Bei Leibniz selber auch lag die neue Lehre des Individuums noch in den Boden der metaphysischen Doktrin, d. i. der "Monadologie". Auf fast alien wissenschaftlichen Gebieten griff er schaffend und anregend ein, und obgleich er weit verschiedene Stoffe bearbeitete, zielten seine Gedanken auf einen Zweck, die Metaphysik des Individuums einzubilden. Wir wenden uns im vorliegenden Aufsass zu den naheren Bestimmungen dieser neuen Metaphysik des Individuums. Diese Bestimmungen miissen an den metaphysischen Begriff der Monade angekniipft werden. Leibniz definiert das Individuum als "Monade", die nichts anders als eine einfache Substanz ist. Individuum, Monade und Substanz, diese drei Worter bezeichnen dasselbe. Aber seine Lehre von Substanz ist nicht verstandlich ohne die geometrische Analyse des Raumes und den dynamischen Begriff der Bewegung und der Zeit erklart zu haben. Die Struktur des Systems von Leibniz ist darin mit der Philosophie des Rationalismus im 17 Jahrhundert konform, dass geometrische und physikalische Einsichten die Voraussetzung der Metaphysik sind und dann in der Lehre vom Individuum die Voraussetzungen fur die philosophische Anthropologie (Dilthey) enthalten sind. Aus dieser Problematik mochten wir in dem Aufsass die folgenden 4 Probleme behandeln. 1. Der Entwickulungsprozess der Lehre von Monade. -ihre mathematische und physikalische Voraussetzungen- 2. Logik der Perzeption in der "Monadenlehre". 3. Monade in dem Kosmos. 4. Ubergang von der Monade zum historischen Individuum.

著者

名倉 英三郎

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.45, pp.71-80, 1984

著者

北條 文緒(1935-)

雑誌

東京女子大學附屬比較文化研究所紀要

巻号頁・発行日

vol.46, pp.85-105, 0000

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The books with which this essay deals were mainly published in the 1970s. They were chosen according to the two criteria of literary value and popularity. To avoid the risk of arbitrariness and personal bias in the selection, two lists of English school stories were consulted: one, in a 1982 issue of the quarterly journal Children's Literature in Education, is a list of school stories published between 1970 and 1980 selected according to the above criteria by three specialists; the other is a list of representative recent children's books compiled by the well-known expert in children's literature, J. R.Townsend. For Japanese school stories, Nihon no Jido Bungaku Sho, 1947-1981 (.Japanese Children's Books'. Awards and Prizes) was consulted. This was edited by the staff of Tokyo Children's Library, whose collection is a good resource for a study of this kind. On the basis of these reference materials ten English and five Japanese school stories were selected for discussion. Reference is also made to several more stories from both countries. The difference between English and Japanese stories proved to be most marked in their denouements. Almost all the Japanese stories end in unqualified happiness, with problems solved, troubles eliminated, feuds overcome and bonds of mutual understanding strengthened by shared causes and purposes. The characters are brought closer together and matured or re-born through their experiences. The English stories, on the other hand, end on a drier, less emotional, note, and the characters continue on their school lives more or less unchanged. This difference may be attributed to differences in the two societies in the openness of the ego to the incursions of the outside world. In Japanese stories the protecting shield surrounding the ego is somehow less rigid, less dense. Private lives are more frequently intruded on, the characters, whether adults or children, more readily confront and confess to each other. In English stories the shield is far harder. The characters seldom intrudeon each other's privacy. Instead of intrusion, confrontation and confession we tend to find self-assertion and defiance. Two indices of this difference are crying in the presence of others and the game of staring out one's opponent. The former is almost always deprecated in English stories but is movingly described in Japanese stories. The latter, on the contrary, is encountered rarely in Japanese stories but frequently in English stories. Thus in Japanese stories, mutual understanding is more easily attained and united efforts more readily directed towards a common purpose. Teachers are more sympathetic to pupils and students and more willing to accept their point of view. All sorts of problems arising in present-day Japanese schools are introduced into the stories, and a dominant theme is the enthusiasm of pupils (or students) and teachers to create better schools. In English stories schools are more static. Problems are solved in terms of individual adaptation, and human relationships develop within a framework of strictly observed social distances. Paradoxically, however, what the English school story seems to lack in realism it redeems in such literary qualities as depth of insight, richness of characterization, and narrative skill.

著者

名倉 英三郎

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.4, pp.1-59, 1957-12

著者

丸山 キヨ子

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.3, pp.1-34, 1956-12