文献一覧: 京都大学東南アジア研究所 (出版者)

1 0 0 0 OA ダンスホール・ゴスペルの男性イメージとジャマイカの教会コミュニティ --男性イメージが集団に与える影響を考察するための概念整理にむけて --

著者: 二宮健一
出版者: 京都大学東南アジア研究所
雑誌: Kyoto Working Papers on Area Studies: G-COE Series
巻号頁・発行日: vol.92, pp.1-35, 2010-06

Dancehall Gospel is a form of Gospel music in Jamaica. As the name suggests, it has the musical character of Dancehall music, which is the mainstream form of popular music in Jamaica. Dancehall Gospel singers are called 'Gospel Deejays'. One of the characteristics which sets Dancehall Gospel apart when it is compared with other forms of gospel music in Jamaica is that while gospel singers and church choirs are predominantly female, most gospel deejays are male. This paper examines the image of the 'Christian' male, which Dancehall Gospel represents, and considers the influence that it has on Jamaican church communities. This paper also aims to construct a conceptual framework within which to study the influence of the male image on social groups. Chapter 1 reviews three major perspectives found in Caribbean masculinity studies and shows that they lack effective concepts with which to study the influence of a male image on social groups. Chapter 2 presents the background of Dancehall Gospel. It examines the male image represented by church and Dancehall respectively. Chapter 3 examines the male image created by Gospel Deejays through their stage performances and considers the influence of that male image on church communities in Jamaica. The last chapter makes several notes to construct the conceptual framework to study the influence of the male image on social groups.

2013-09-26 23:18:26
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http://hdl.handle.net/2433/155740

1 0 0 0 IR 北部ヴェトナム銅鼓をめぐる民族史的視点からの理解

著者: 西村昌也
出版者: 京都大学東南アジア研究所
雑誌: 東南アジア研究 (ISSN:05638682)
巻号頁・発行日: vol.46, no.1, pp.3-32, 2008

Recent progress in the data collection and typological classification of bronze drums of northern Vietnam and its surroundings have made it possible to recognize the geographical distribution and chronology of bronze drum types (Pre-Heger I to Heger IV). All types show a limited distribution range and some have been played an important role as a ritual or prestige good in several ethnic societies. Therefore, combining archaeological advances with ethnography, historical documentation, and legend can provide a key to understanding the formation of present-day ethnic groups. The Heger I type of Dong Son tradition drums (2nd century BC to 1st century BC), which were cast in the local Dong Son cultural sphere, are almost all concentrated on the hilly area and lower plains to the south of the Red River. Furthermore, the distribution of the later Heger II type (3-4th to 8-9th century AD) and Pseudo Heger II type (11th to 15-16th century AD), some of which are still used by the Muong ethnic group, overlaps with the distribution of the former type in the mountain range. Heger II were cast in Guangxi and Pseudo Heger II were very possibly cast in the Thang Long or surrounding lowland area of the Red River Plain on behalf of mountainous ethnic groups. Although the area and people that produced bronze drums were changed in its long history, the people that used the drums remained the same in the Northern Vietnam. Furthermore, while the Viet-Muong ethnic group have a long-term tradition of using bronze drums, the Thai and Tay, the major Thai ethno-linguistic groups of northern Vietnam, have not retained such a continuous tradition. This is one contrast between the Thai/Tay and Viet/Muong groups. Another ethnic group that has retained a long term tradition of bronze drum usage is the Lo Lo (Tibet-Burma) of the northernmost area of Vietnam.