- 著者
- 金田一 仁志 Hitoshi KINDAICHI 藤女子大学人間生活学部保育学科非常勤講師 日本俳優連合(西田敏行代表理事) 日本演劇教育連盟全国委員 Department of Early Childhood Care and Education Faculty of Human Life Sciences Fuji Women's University Japan Actors Union Japan Educational Drama Association
- 出版者
- 藤女子大学
- 雑誌
- 藤女子大学人間生活学部紀要 = The bulletin of the Faculty of Human Life Sciences, Fuji Women's University (ISSN:21874689)
- 巻号頁・発行日
- no.53, pp.107-115, 2016
- 著者
- 藤井 義博
- 出版者
- 藤女子大学
- 雑誌
- 藤女子大学人間生活学部紀要 = The bulletin of the Faculty of Human Life Sciences, Fuji Women's University (ISSN:21874689)
- 巻号頁・発行日
- no.55, pp.51-61, 2018
This study was an effort to clarify in the taleʠSuisen-zuki no yokkaʡwhat meaningthe blizzardʠSuisen-zuki no yokkaʡhas for each of the main characters in the tale: the old snow woman, the snow boy and the child wrapped in a red blanket, and to elucidate how the snow boy saves the childʼs life in the blizzard, so as to determine the general relationship between formation of intrinsic reality in a human being and creation of extrinsic reality by god or goddess of nature. For this investigation, the hypothesis had been put forward that Miyazawa Kenji, author of and chef in"The Restaurant of Many Ordersʡ, a collection of tales including the above, ask readers or customers in his restaurant to appreciate intrinsic reality formed in the characters in his tales.Being bottled up inside her own circuits, like Narcissus in Greek mythology, the oldsnow woman saysʠSuisen-zuki no yokkaʡ, so as to mean nothing but the blizzard itself that she determines to promote here and now. The snow boy takes the old snow womanʼs ʠSuisen-zuki no yokkaʡfor the objective blizzard in the nighttime on the eve of Risshun, the first day of spring or February the 4th in the calendar year. The child wrapped in a red blanket takes the blizzard he encounters for a sleeping time dreaming of homemade candy since falling over in the storm and being covered with lots of quilts of snow. The child survives in the blizzard because of the snow boyʼs penetrating insight, practical knowledge and skilful actions, or cries that generate effective responses from entities in the universe: snow produced instead of spring rain by the big blue fire of the invisible Cassiopeia in response to his cry for bring spring rain, his intention to save the child, which is sensibly concealed from the old snow woman, his correct methods for preventing hypothermia of the child, and responses of both the child and father to his action resulting in the latter finding the former safe and sound covered with snow.The relationship between formation of intrinsic reality and creation of extrinsicreality in the tale can be summarized; upon perceiving or taking account of extrinsic reality, different intrinsic reality is formed in each of the main characters in the tale;extrinsic reality is created based upon intrinsic reality originated in god or goddess ofnature, whether it is created directly by the old snow woman, a narcissistic unresponsive goddess of nature or it is created indirectly by entities in the universe that respond to kind actions, or cries of the snow boy, a willing helper god of nature. Intrinsic reality in a human being formed by perception of extrinsic reality can touch intrinsic realityoriginated in god or goddess of nature, because extrinsic reality is created by intrinsic reality originated in god or goddess of nature. The intrinsic reality in a human being that touches intrinsic reality in god or goddess of nature transcends subjectivity, and thus is equivalent toʠmental sketchʡ, an expression by Miyazawa Kenji for his commonly called tales or poems, which is universal, as he claims, among all the human beings down in their hearts.
- 著者
- 鉢呂 光恵
- 出版者
- 藤女子大学
- 雑誌
- 藤女子大学人間生活学部紀要 = The bulletin of the Faculty of Human Life Sciences, Fuji Women's University (ISSN:21874689)
- 巻号頁・発行日
- no.55, pp.137-145, 2018-03-31
Sherrie Levine (1947- ) is a contemporary artist who was active in advocatingpostmodernism, a movement that dates from the America of the 1980s.Levine created new images by appropriating photos of people, from a series titledOthers, that had been taken by Walker Evans (1903-1973), a prominent photographer of modern times. Her artistic technique gained considerable attention from critics. In her work, she rephotographed, through her own imagination, the people in the existingphotos, focusing on their gaze, a gaze that was lost in modern times and was differentfrom a camera-conscious gaze. Through the production of simulated art or appropriated art, she attempted to examine and elucidate how photographic subjects were introduced and socially positioned by the mass media and by photography appreciators.Her stance on art underlay her attempts to use postmodernist photography toreconsider, from an artistic standpoint, how modernization had caused various things inAmerican society to become replaced.Levine attempted to pursue visual possibilities. Based on an essay by HowardSingerman that intricately discusses the “gaze” of people shot by Levine who showed aspecific interest in watching, this thesis highlights four items.1) The composition of photos taken from this postmodernist perspective2) The “gaze” of people shot by Levine in some photos (multiple lines of sight)3) “Appropriation” (artistic techniques adopted by Levine)4) New attempts made by Levine
- 著者
- 鉢呂 光恵
- 出版者
- 藤女子大学
- 雑誌
- 藤女子大学人間生活学部紀要 = The bulletin of the Faculty of Human Life Sciences, Fuji Women's University (ISSN:21874689)
- 巻号頁・発行日
- no.54, pp.137-146, 2017
Sherrie Levine is an artist representing American postmodernism. In 1981,shetransformed a historic photograph,which was taken in 1936 by prominent photographerWalker Evans,Allie Mae Burroughs,the wife of a tenant farmer affected by theglobal depression,into a simulation art created based on the duplication technologythat was popular in America in the 1980s. Through interactive perspectives of AllieMae Burroughs, this paper highlights the fact that this production by Levine invitesspectators to evoke a new interpretation exceeding the creator’s intentions.