著者

清水 久美子

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.21, pp.107-128, 2004

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The Bunraku puppet show is one of the traditional public entertainments of Japan and we are proud of its 400years history. It was specified as a World Cultural Heritage of UNESCO in 2003. In this paper the characteristics and the charm of Bunraku costumes are observed by characteristics clarifying the historical development of costumes and the differences in present costumes seen in the realistic dramas and the historical ones, based on the research carried out since 1984 in the actual conditions of the culture and documentary records of performances at the National Bunraku Theater of Japan. Gorgeousness of costumes was forbidden from about the Kan-ei age on, and costumes were taken from the costumes of court nobles, military families and Noh costumes of prior ages, and the general fashions were taken from about the Genroku age. The epoch-making conversion of the costumes were tried and the foundation of today was formed from Enkyo age to Horeki age. There are some fundamental principles in the sewing and the dressing of the present costumes. The costumes for realistic drama seem to be somewhat stereotyped and realistic. The transformation, the specialization and the exaggeration of general fasions in historical drama are remarkable. Moreover, the high aesthetic sense and artistic effects can be seen in the design. Within the restrictions and limitations to manipulate a puppet, the Bunraku costumes make use of the character of the dolls and it shows its function to construct and to realize an original characteristic world of art as an existence which exceeded the human. There are characteristics, and an appeal of the costumes of Bunraku not seen in the costumes of Kabuki and Noh where human beings perform.

著者

清水 久美子

出版者

同志社女子大学総合文化研究所

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.22, pp.109-124, 2005

著者

生井 知子

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.22, pp.125-144, 2005-03-31

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研究プロジェクト・論文 (Final research project reports)

著者

猿田 佳那子

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.26, pp.76-88, 2009-03-31

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本報は、2002 年から現在までに筆者がおこなってきた事例研究のうち、入学式、卒業式、結婚式など「ハレ」の場にふさわしい服装を求めた被服構成をとりあげるものである。各事例について、障がいの概要を述べ、衣生活上の困難を整理し、実際に行った被服構成を述べ、当事者や家族などから得た情報をもとに車椅子使用者の社会活動を支援するための被服構成の特質を考察した。その結果、被服構成に必要な技術は、いわゆる健常者の衣服をとりあつかう場合と変わらないが、不都合な点や要望を聞き取り、それを被服構成に反映するにはいくつかの特異性が認められる。そこで、被服構成技術と衣生活環境の側面から留意点をまとめた。上半身着については座面以下の処理方法とアームホール寸法の拡大が重要であること、女性の下半身着については巻きスカート形式の特長が明らかになった。女性の「ハレ」着の定番である和装は、関節可動域が小さくなった人にも無理なく着用できる要素を持っている。本報にかかわる調査をとおして、衣服の持つ社会的な機能を実感し、「ハレ」の場にふさわしい服装の用意があるということが、各個人の尊厳にかかわることを再認識した。

著者

張 莉

出版者

京都

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.29, pp.70-92, 2012

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This paper discusses the traditional use of birds in fortune-telling in China and Japan, and the Chinese characters used in this custom. Fortune-telling through birds, introduced from China into Japan between the latter part of the Jomon period and the Yayoi period, remains popular in both countries, particularly in the south of Changjiang. The custom also endures in Shanchao and Zhouchao, where Chinese characters originated and were developed, and its history can be traced in Chinese characters. Shizuka Shirakawa has systematized and explicated each Chinese character used in bird fortune-telling, developing a seminal methodology in the study of ideograms. In this paper, I choose some of the characters included in his research_「鳥」・「隹」・「鳴」・「唯」・「雖」・「鳳」・「風」・「雝」_and examine the etymology of each through a historical investigation of the old Chinese custom using Shirakawa's methodology in order to reevaluate the explication of the selected Chinese characters.論文 (Article)

著者

赤澤 真理 伊永 陽子 田村 隆 森田 直美

出版者

京都

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.33, pp.240-217, 2016

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前号に引き続き、江戸後期の有職故実家である松岡行義の著作、『源氏類聚抄』(宮内庁書陵部蔵本(函号))の翻刻を呈する。本書は、『源氏物語』に示された建築・調度・装束等に関する有職故実書である。松岡行義(一七九四―一八四八)による有職故実書は、平安期文献を重視する原点回帰の姿勢、絵画や図面等により対象を視覚化することに特徴がある。本書は、管見の限り、松岡行義による『源氏物語』の有職故実書のなかで、最も大部である。本書は、『源氏物語』の読解のみならず、平安期における生活文化への探求、一九世紀における有職故実学の諸相を知る上でも重要となろう。研究ノート

著者

仲 万美子

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.23, pp.45-58, 2006-03-31

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In my research, I have examined the cultural mechanism behind the phenomenon of the Twelve Girls Band in order to better understand the conspicuous transformation of ethnic music into popular music which has occurred in East Asia since the 1990s. In particular, I have concentrated on the following topics within a cultural and social framework: 1) the training of professional players of ethnic instruments; 2) the musical style of ensembles which use ethnic instruments; and 3) the promotion of the music towards the world by producers.論文 (Article)

著者

仲万 美子 三島 郁

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.22, pp.145-164, 2005-03-31

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For about ten years, Kishi Koichi (1909-1937) was active both in Japan and abroad as a musician and composer. In this paper we focus on his third extended stay in Berlin, which we believe was the most important because it was during the period that he created his concept of "Japanese Western music" based on Western principles. As research materials we have used items which were donated to the Kishi Koichi Memorial Room by his bereaved family as well as other resources in German institutions such as the Ufa-Kinemathek Foundation in Berlin. We have analyzed and compared two of Kishi's essays in which he demonstrated his concept of "Japanese music" newspaper and articles about a concert titled "Japanisher Abend (Japanese evening)," which he held in 1934. We also examined Kishi's attitude toward production, the German public's reaction to his works, and the significance of a Japanese musician performing in the West at he beginning of the 20th century. As a result, we have found much consistency between the Japanese and German source materials and have been able to clearly determine how important Kishi was in establishing a dialogue between Eastern and Western culture.論文 (Articles)

著者

丸山 敬介

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.19, pp.60-76, 2002

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This paper examines the syllabi of basic JFL (Japanese as a Foreign Language) textbooks concerning the teaching order of grammatical items. For this purpose the use of 15 main grammatical items on the basic level was analyzed in 40 textbooks published between 1980 and 2000. The conclusion demonstrates the following 5 points : 1. The teaching order of grammatical items is divided into the first introductory stage, the second introductory stage, the development stage, and the final stage. 2. In the first introductory stage, the copula, basic verbs, and adjectives are taught. In the second introductory stage, particles and tense of verbs are taught. In the development stage, aspect and conditional expressions are taught. In the final stage, voice expressions and polite verbs are taught. 3. It takes about 30 class hours to finish the first introductory stage and 220 class hours to reach the final stage. 4. Some items from the development and final stages are taught in the introductory stage in order to help students to cope with conversations in offices and shops. 5. The items in 4. are : a. expressions that are frequently used in daily life; b. expressions that have basic functions such as introducing, requesting and asking advice ; c. expressions that have too much information to complete in a single lesson.

著者

濱口 義信

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.9, pp.85-89, 1992-03-31

著者

小針 誠

出版者

京都

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.26, pp.43-54, 2009

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論文 (Article)

著者

小針 誠 KOBARI Makoto

出版者

京都

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.28, pp.69-79, 2011

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論文 (Article)

著者

朱 捷

出版者

京都

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.33, pp.63-81, 2016

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Some pairs of the hexagrams in the I Ching (Book of Changes) may be viewed as having the structure of palindromes, and the elements that make them up may be viewed as palindromes as well. The hexagram 師, (shi, Leading), for example, is the reverse of the hexagram 比 (bi, Grouping), and each of that hexagramʼs six yao 爻 (the whole or broken lines that make up the hexagram) is the reverse of the corresponding yao. The first yao of the hexagram 比, for example, is the sixth yao of the hexagram 師, while the sixth yao of the hexagram 比 is the first yao of the hexagram 師. Whether it can be ascertained if there is in fact a reversible, palindrome-like relationship between these pairs of yao and their commentaries, and whether each of these paired yao shows a correspondence with and reversal of its counterpartʼs meaning is the question this paper takes as its subject. This essay looks at seven pairs of hexagrams in which each yao is the mirror image of that of its corresponding hexagram, and, on the basis of the commentaries on each of the forty-two yao, for a total of eighty-four, determines that almost all of the pairs show this palindromic conversion of meaning.論文

著者

鈴木 健司

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.18, pp.49-57, 2001-03-31

著者

加賀 裕郎

出版者

京都

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.31, pp.33-57, 2014

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The main purpose of this paper is to find a clue to create the inclusive history of pragmatism by examining Misak's new study on this subject. The trait of Misak's version of the intellectual history of pragmatism consists in legitimating Peirce's pragmatism while as degrading James' pragmatism. And also she grasps pragmatism as a part of modern analytic philosophy, not as a development of German idealism. Four subjects are set up in order to achieve the purpose of this paper. First we survey the main types of the interpretation of the intellectual history of pragmatism, and position Misak's new research in them. Next, we adjudicate whether Peirce's pragmatism can be justified as representative of pragmatism in general in comparison with James' pragmatism. Third, we critically consider Misak's interpretation of the intellectual history of pragmatism. Finally, we specify the configuration of the interpretations of the intellectual history of pragmatism by analyzing pragmatist's conception of truth. Our analysis of these four areas leads to the conclusion that Misak's interpretation can not be justified. We would like to construct the history of pragmatism as efforts to integrate naturalism and historicism.論文 (Article)

著者

枝澤 康代

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.22, pp.64-74, 2005-03-31

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研究プロジェクト・論文 (Final research project reports)

著者

吉海 直人

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.7, pp.141-162, 1990-03-31

著者

椎名 亮輔

出版者

同志社女子大学

雑誌

総合文化研究所紀要 (ISSN:09100105)

巻号頁・発行日

vol.19, pp.93-107, 2002-03-31

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The strategy of Luc Ferrari (1929 -), a French contemporary composer, in bewildering his listeners, consists among other things, of scattering autobiographical references in his work. As Philippe Lejeune points out, in reading an autobiography we must make contract with the author : we must acknowledge that the author really exists, and that it was he who realized these texts. Here we encounter the reality that extends behind the artistic work itself. With Ferrari, through his autobiography, we are led to an extra-musical world. His interest in the extra-musical world had already begun with his early "concrete" works in the 50's. The "musique concrete" is constructed with sound material from the real environment, material that the composer records, manipulates and fixes directly on disk or tape. Although manipulated in this way, the sounds keep their original character : the listeners easily understand which sounds he uses, so that the sounds do not remain a merely physically but are carriers of some meaning. Ferrari takes advantage of the variety of meanings, carried in this way by the auto-biographical, or the "concrete" character of the sounds. But this is not all : our tendency to listen to music as absolute music - to listen only to the sounds without reading the literal explanation in the case of lieder, operas or program music - is of no use, because our attention is immediately disturbed by the pornographic photos on the jacket of his LP disk, Cellule 75,for example. If Mikel Dufrenne is right saying that before the appiarance of writing the arts had their origin in the memory, and that the mother of arts is at the same time the goddess of memory (Mnemosyne, mother of Muses), the position of Ferrari is very significant because he continuously tries to bring the maximum of the senses to the sound works, despising the written level : surcharging the meaning of sounds, written texts, photos, films, radio dramas, installations... as if he returned to the origin of the music, memory. As for memory, according to the research of Paul Ricoeur, the Greeks distinguished two kinds : mneme, simple remembering, and anamnesis, recollection, i. e. spiritual movement for recollecting. The Greeks were conscious of the fact that it is us who make the memory, not the memory which returns to us, a fact on which, in the domain of neuro-psychology, Israel Rosenfield is insisting today. And in the artistic domain, we can say that there are authors who create so to say "new memory" for us, who appreciate it and experience it as if we lived this memory, as "our" autobiography. Among others it is Luc Ferrari and his music which bring us this kind of artistic experience, out of the traditional esthetic criteria.