著者

内藤 豊裕

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.26, pp.131-173, 2017

著者

深沢 佳那子

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.24, pp.187-226, 2015

---

This report is about the description of private parts in Japanese mythology.Japanese mythology has a lot of stories about female private parts.The fi rst time this appeared is the scene when Izanami gave birth to Kagutsuchi who is the god of fi re. Due to this,Izanami's private part is burned and dies. This is the origin of fi re story, Izanami is believed as mother goddess. There was faith that mother goddess gave birth to something valuable for humans in the ancient age.Originally, private parts relate to giving birth and living. However in this story, it relates to death as well as in O-getsuhime and Ukemochi stories described below.After the deaths of O-getsuhime and Ukemochi, grains grow from some parts of their corpses including their private parts.They are mother goddess and ancient people believed that mother goddess gave fertility after they were killed. We can see the same belief in Dogu and bowl in Jomon era, and in the background of Izanami's story.In the story of Yamatototohimomosohime, female private part relate to death as well. Since Yamatototohimomosohime broke a taboo, she cannot get married to O-mononushi. In which she dies by getting a chopstick stabbed in her private part.There is a similar story in Ama-no-iwayado mythology also. It is a story of Hataorime, who dies due to her job tool shuttle stabbed in her private part.Yamatototohimomosohime's death means retaliation and Hataorime's death is what causes the story of Amaterasu to hide in the iwayado. Both deaths include negative elements, the deaths are not normal. Thus, when female private parts are broken, it symbolized a negative death for goddesses. This is because female private parts symbolize life itself and woman.Breaking female private parts means stopping life and negative death to denial woman.However, in the Ninuriya mythology, stabbing the private part causes birth. Due to a red arrow stabbing Seyadatarahime's private part, she becomes pregnant. In this story, red arrow means male private part, and female private part relate to life.Since female private part relates to life originally, the story of stabbing female private part in which caused death was made paradoxically.Amenouzume' s story is one of the most famous for female private part story. In the story, female private part has exorcism power, in which she exposes her private part to make the gods laugh. This then led to Amaterasu to come out from the iwayado. The female private part in this story means women's holy power. However, in the background of the story the gods laugh at the female private part show, that there is male society and thought that men believed women's holy power.On the other hand, there is no story about male private parts.Although, in the jomon era, Japanese ancient people made many stone fi gures that were shaped in male private parts. The male private part fi gure, Sekibo symbolized energy and god who can bless bad spirits. Male symbol was believed as a single existence, are independent from the male's body. It was not faith in men but in the private part. That is why there are no stories which god's private parts were emphasized.However in the ancient times, there was no culture to make fi gures of female private parts. Dogu is famous for women's body statue, but there are seldom representations of the private parts. Dogu has breasts and represents of pregnancy. It is bound for the faith of mother goddess. Due to this, the faith of mother goddess is from not the female private parts, but the mother goddess's body.Though, it was believed that female private parts held holy power, the two beliefs had seemed to coexist.In order to show the coexistence, the classifi cation of "ideal woman" and "actual woman" that Kazuo Matsumura advocated was used. Amaterasu who is a virgin goddess is pure and clean, who represents the ideal woman. On the other hand, Izanami who experienced pregnancy, dead world, divorce represents an actual woman. These images were made by male society. Izanami gave birth by using female private part as an actual woman and not as mother goddess. The belief in mother goddess gives birth something valuable for human is in goddess body.Ukemochi and O-getsuhime mythologies are the origins of agriculture story. In these stories, female private parts appear,but there is no special meaning. They are mother goddess and give birth to something valuable, but there is no individual belief for female private parts.However people believed that private parts held holy power. In the ancient era, there was faith that women held holy power, in their female private parts which symbolized women.Then, Breaking the symbol of living and women, causes goddess's negative death. Yamatotohimomosohime and Hataorime mythologies express this. Breaking private parts what are originally giving birth causes death. When they died a negative death, their private parts, which symbolized of women's holy power, were broken. By doing so, this made a denial their dignity.On the other hand, Seyadatarahime's Ninuriya story is simply about sex and birth. Sometimes people believed female private parts as use for reproduction, and it did not relate to faith in mother goddess and fertility.Izanami's story is complexly structured. It is made from three elements, 1) primitive faith that mother goddess gave birth to god of fi re, 2) actual women who gave birth by using her female private part, 3) negative death by breaking the female private part, and it bound for uncleanness of death. Izanami gave birth as mother goddess, but the giving birth by using female private part is not derived from the personality of mother goddess. It is as an actual woman, and, the private part was a "device that is broke" to denial woman.Female private parts in Japanese mythology means symbol of living that is from the function, moreover, it means woman's symbol. People believed that women's holy power is in female private parts.Female and male private parts cannot be represented as a whole. This is due to the different beliefs in which the ancient people held.

著者

深沢 佳那子

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.24, pp.187-226, 2015

---

This report is about the description of private parts in Japanese mythology.Japanese mythology has a lot of stories about female private parts.The fi rst time this appeared is the scene when Izanami gave birth to Kagutsuchi who is the god of fi re. Due to this,Izanami's private part is burned and dies. This is the origin of fi re story, Izanami is believed as mother goddess. There was faith that mother goddess gave birth to something valuable for humans in the ancient age.Originally, private parts relate to giving birth and living. However in this story, it relates to death as well as in O-getsuhime and Ukemochi stories described below.After the deaths of O-getsuhime and Ukemochi, grains grow from some parts of their corpses including their private parts.They are mother goddess and ancient people believed that mother goddess gave fertility after they were killed. We can see the same belief in Dogu and bowl in Jomon era, and in the background of Izanami's story.In the story of Yamatototohimomosohime, female private part relate to death as well. Since Yamatototohimomosohime broke a taboo, she cannot get married to O-mononushi. In which she dies by getting a chopstick stabbed in her private part.There is a similar story in Ama-no-iwayado mythology also. It is a story of Hataorime, who dies due to her job tool shuttle stabbed in her private part.Yamatototohimomosohime's death means retaliation and Hataorime's death is what causes the story of Amaterasu to hide in the iwayado. Both deaths include negative elements, the deaths are not normal. Thus, when female private parts are broken, it symbolized a negative death for goddesses. This is because female private parts symbolize life itself and woman.Breaking female private parts means stopping life and negative death to denial woman.However, in the Ninuriya mythology, stabbing the private part causes birth. Due to a red arrow stabbing Seyadatarahime's private part, she becomes pregnant. In this story, red arrow means male private part, and female private part relate to life.Since female private part relates to life originally, the story of stabbing female private part in which caused death was made paradoxically.Amenouzume' s story is one of the most famous for female private part story. In the story, female private part has exorcism power, in which she exposes her private part to make the gods laugh. This then led to Amaterasu to come out from the iwayado. The female private part in this story means women's holy power. However, in the background of the story the gods laugh at the female private part show, that there is male society and thought that men believed women's holy power.On the other hand, there is no story about male private parts.Although, in the jomon era, Japanese ancient people made many stone fi gures that were shaped in male private parts. The male private part fi gure, Sekibo symbolized energy and god who can bless bad spirits. Male symbol was believed as a single existence, are independent from the male's body. It was not faith in men but in the private part. That is why there are no stories which god's private parts were emphasized.However in the ancient times, there was no culture to make fi gures of female private parts. Dogu is famous for women's body statue, but there are seldom representations of the private parts. Dogu has breasts and represents of pregnancy. It is bound for the faith of mother goddess. Due to this, the faith of mother goddess is from not the female private parts, but the mother goddess's body.Though, it was believed that female private parts held holy power, the two beliefs had seemed to coexist.In order to show the coexistence, the classifi cation of "ideal woman" and "actual woman" that Kazuo Matsumura advocated was used. Amaterasu who is a virgin goddess is pure and clean, who represents the ideal woman. On the other hand, Izanami who experienced pregnancy, dead world, divorce represents an actual woman. These images were made by male society. Izanami gave birth by using female private part as an actual woman and not as mother goddess. The belief in mother goddess gives birth something valuable for human is in goddess body.Ukemochi and O-getsuhime mythologies are the origins of agriculture story. In these stories, female private parts appear,but there is no special meaning. They are mother goddess and give birth to something valuable, but there is no individual belief for female private parts.However people believed that private parts held holy power. In the ancient era, there was faith that women held holy power, in their female private parts which symbolized women.Then, Breaking the symbol of living and women, causes goddess's negative death. Yamatotohimomosohime and Hataorime mythologies express this. Breaking private parts what are originally giving birth causes death. When they died a negative death, their private parts, which symbolized of women's holy power, were broken. By doing so, this made a denial their dignity.On the other hand, Seyadatarahime's Ninuriya story is simply about sex and birth. Sometimes people believed female private parts as use for reproduction, and it did not relate to faith in mother goddess and fertility.Izanami's story is complexly structured. It is made from three elements, 1) primitive faith that mother goddess gave birth to god of fi re, 2) actual women who gave birth by using her female private part, 3) negative death by breaking the female private part, and it bound for uncleanness of death. Izanami gave birth as mother goddess, but the giving birth by using female private part is not derived from the personality of mother goddess. It is as an actual woman, and, the private part was a "device that is broke" to denial woman.Female private parts in Japanese mythology means symbol of living that is from the function, moreover, it means woman's symbol. People believed that women's holy power is in female private parts.Female and male private parts cannot be represented as a whole. This is due to the different beliefs in which the ancient people held.

著者

内藤 豊裕

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.25, pp.333-365, 2016

著者

内藤 豊裕

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.26, pp.131-173, 2017

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C'est à partir de la seconde moitié des années 1980 qu'au Japon le phénomène du séiyû, ou acteur de voix, a pris une forme d'autonomie, en même temps qu'une configuration médiatique originale commençait à se bâtir. A partir des années 1990, l'existence du séiyû est sortie de l'ombre. Rien n'a pourtant changé quant à la manière dont un séiyû compose son personnage par l'intermédiaire de la voix. Au début des années 1990, le séiyû s'est présenté comme un artiste. Le mot signifiait « sujet d'expression susceptible d'être diffusé sous des formes diverses, plutôt qu'il ne désignait le praticien d'un art proprement dit. En 1997, SHIINA Hekiru a donné deux jours de concert au NIPPONBUDOKAN, salle éminemment symbolique pour la musique au Japon. A l'époque, SHIINA, bien que Séiyû, ne prêtait sa voix à presque aucun personnage de dessin animé. Contrairement à aujourd'hui, il n'existait pas, à l'époque, d'environnement médiatique favorable à l'expansion de la sphère d'activité des séiyû.SHIINA a acquis une grande popularité comme vedette de la chanson mais elle est aussi un précurseur, dans un temps où le statut de vedette de la chanson était hors de la sphère du séiyû. Ses chansons ont évolué, passant des mélodies typiques de la variétés à une musique de type rock. Cette évolution s'est étendue à l'ensemble de son spectacle et a fini par la faire sortir de la catégorie des chanteuses de variété. Cette musique et ces mises en scène de concert étaient sans doute le reflet du goût et du caractère particuliers de la chanteuse. Ils lui ont permis d'acquérir la position d'artiste à l'identité reconnue et importante pour le public. Enfin le séiyû est devenu un phénomène médiatique indépendant de toute image visuelle.Depuis ce jour, la mise en scène des dessins animés s'est mise à prendre en compte la reconnaissance par le public de l'identité du séiyû. La réception du personnage de dessin animé a cessé d'entrer en contradiction avec la reconnaissance de l'identité personnelle du séiyû. Une telle situation paraît indiquer que le séiyû a atteint la dynamique propre à la vedette du cinéma telle que l'a définie Richard DYER.

著者

内藤 豊裕

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.25, pp.333-365, 2016

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Le Seiyû, en japonais "acteur de voix", n'apparaît pas dans l'image cinématographique doublée. Il est seulement caractérisé par sa voix, qui joue le rôle de l'image de l'acteur à l'écran. Cette structure trouve son origine dans le dessin animé japonais (anime). Le premier exemple de Seiyû à avoir transformé sa voix en image est SHIOYA Tsubasa dans Toriton dans la mer. C'est au cours des années 1980-1990 que le Seiyû devient une vedette et montre son visage. Le métier se transforme et sort de l'ombre pour acquérir une apparence complète et reconnaissable. Ce tournant fut inauguré par le dessin animé Idole des Forces de Défense : Humming Bird où, pour la première fois, des Seiyû étaient mis en vedette. Par la suite, deux points doivent être remarqués: tout d'abord la structure de reconnaissance du Seiyû à travers les médias. D'une projection unilatérale de l'image propre au personnage animé sur celui qui lui prête sa voix, on est passé à l'établissement d'une correlation entre personnage et acteur. Il est arrivé que la silhouette ou le visage d'un Seiyû infl ue sur le dessin d'un personnage, dans lequel chacun pouvait reconnaître celui dont il entendait la voix. En deuxième lieu, le changement a porté sur la formation et le parcours des Seiyû. Auparavant, le métier était cantonné à des acteurs de théâtre, qui en faisaient un gagne-pain secondaire. Ce travail de l'ombre acquit son indépendance graduellement. Or la grossièreté des productions fabriquées en série autour des années 1985 en était venue à menacer l'équilibre du marché du dessin animé au Japon. La mise en spectacle des Seiyû fut un moyen de rétablir la situation. Dans ces spectacles, les acteurs devaient chanter et danser, de sorte que certaines vedettes de la chanson sont devenues Seiyû. Désormais il existe des écoles proposant une formation systématique au doublage de dessin animé. Le Seiyû est devenu un acteur à part entière.

著者

可児 洋介 Yosuke Kani

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 = Gakushuin University studies in humanities (ISSN:09190791)

巻号頁・発行日

no.19, pp.275-302, 2010-10

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This essay not only disregards privileged signifiant which is called newtype in Mobile Suit Gundam as a tear of text, but also captures it as a field in which some different discourse were intermingling, and argues its various aspects. Concretely, this essay not only reduces that concept to the intention of the Tomino Yoshiyuki’s author-subject, but also connects it to wide-ranging contemporary situation, furthermore, discloses the generation-strife of its consumers which had a estrangement between the literary-cultural generation and the visual-cultural generation. Moreover, it confirms the birth of the imagined communities which consist of peculiar to “accepter-creater” of a limited animation, and states that such events symbolized a shift between meaning and sense or between stories and databases, and suggests that they(newtypes)born then have supported supply and demand of real-robot-anime which is like Super Dimension Fortress Macross and Neon Genesis Evangelion.

著者

深沢 佳那子 Kanako Fukazawa

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 = Gakushuin University studies in humanities (ISSN:09190791)

巻号頁・発行日

no.24, pp.187-226, 2015-10

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This report is about the description of private parts in Japanese mythology.Japanese mythology has a lot of stories about female private parts.The fi rst time this appeared is the scene when Izanami gave birth to Kagutsuchi who is the god of fi re. Due to this,Izanami’s private part is burned and dies. This is the origin of fi re story, Izanami is believed as mother goddess. There was faith that mother goddess gave birth to something valuable for humans in the ancient age.Originally, private parts relate to giving birth and living. However in this story, it relates to death as well as in O-getsuhime and Ukemochi stories described below.After the deaths of O-getsuhime and Ukemochi, grains grow from some parts of their corpses including their private parts.They are mother goddess and ancient people believed that mother goddess gave fertility after they were killed. We can see the same belief in Dogu and bowl in Jomon era, and in the background of Izanami’s story.In the story of Yamatototohimomosohime, female private part relate to death as well. Since Yamatototohimomosohime broke a taboo, she cannot get married to O-mononushi. In which she dies by getting a chopstick stabbed in her private part.There is a similar story in Ama-no-iwayado mythology also. It is a story of Hataorime, who dies due to her job tool shuttle stabbed in her private part.Yamatototohimomosohime’s death means retaliation and Hataorime’s death is what causes the story of Amaterasu to hide in the iwayado. Both deaths include negative elements, the deaths are not normal. Thus, when female private parts are broken, it symbolized a negative death for goddesses. This is because female private parts symbolize life itself and woman.Breaking female private parts means stopping life and negative death to denial woman.However, in the Ninuriya mythology, stabbing the private part causes birth. Due to a red arrow stabbing Seyadatarahime’s private part, she becomes pregnant. In this story, red arrow means male private part, and female private part relate to life.Since female private part relates to life originally, the story of stabbing female private part in which caused death was made paradoxically.Amenouzume’ s story is one of the most famous for female private part story. In the story, female private part has exorcism power, in which she exposes her private part to make the gods laugh. This then led to Amaterasu to come out from the iwayado. The female private part in this story means women’s holy power. However, in the background of the story the gods laugh at the female private part show, that there is male society and thought that men believed women’s holy power.On the other hand, there is no story about male private parts.Although, in the jomon era, Japanese ancient people made many stone fi gures that were shaped in male private parts. The male private part fi gure, Sekibo symbolized energy and god who can bless bad spirits. Male symbol was believed as a single existence, are independent from the male's body. It was not faith in men but in the private part. That is why there are no stories which god’s private parts were emphasized.However in the ancient times, there was no culture to make fi gures of female private parts. Dogu is famous for women’s body statue, but there are seldom representations of the private parts. Dogu has breasts and represents of pregnancy. It is bound for the faith of mother goddess. Due to this, the faith of mother goddess is from not the female private parts, but the mother goddess’s body.Though, it was believed that female private parts held holy power, the two beliefs had seemed to coexist.In order to show the coexistence, the classifi cation of “ideal woman” and “actual woman” that Kazuo Matsumura advocated was used. Amaterasu who is a virgin goddess is pure and clean, who represents the ideal woman. On the other hand, Izanami who experienced pregnancy, dead world, divorce represents an actual woman. These images were made by male society. Izanami gave birth by using female private part as an actual woman and not as mother goddess. The belief in mother goddess gives birth something valuable for human is in goddess body.Ukemochi and O-getsuhime mythologies are the origins of agriculture story. In these stories, female private parts appear,but there is no special meaning. They are mother goddess and give birth to something valuable, but there is no individual belief for female private parts.However people believed that private parts held holy power. In the ancient era, there was faith that women held holy power, in their female private parts which symbolized women.Then, Breaking the symbol of living and women, causes goddess’s negative death. Yamatotohimomosohime and Hataorime mythologies express this. Breaking private parts what are originally giving birth causes death. When they died a negative death, their private parts, which symbolized of women’s holy power, were broken. By doing so, this made a denial their dignity.On the other hand, Seyadatarahime’s Ninuriya story is simply about sex and birth. Sometimes people believed female private parts as use for reproduction, and it did not relate to faith in mother goddess and fertility.Izanami’s story is complexly structured. It is made from three elements, 1) primitive faith that mother goddess gave birth to god of fi re, 2) actual women who gave birth by using her female private part, 3) negative death by breaking the female private part, and it bound for uncleanness of death. Izanami gave birth as mother goddess, but the giving birth by using female private part is not derived from the personality of mother goddess. It is as an actual woman, and, the private part was a “device that is broke” to denial woman.Female private parts in Japanese mythology means symbol of living that is from the function, moreover, it means woman’s symbol. People believed that women’s holy power is in female private parts.Female and male private parts cannot be represented as a whole. This is due to the different beliefs in which the ancient people held.

著者

学習院大学大学院人文科学研究科 [編]

出版者

学習院大学大学院人文科学研究科

巻号頁・発行日

1992

著者

三輪 健太朗 Kentaro Miwa

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 = Gakushuin University studies in humanities (ISSN:09190791)

巻号頁・発行日

no.19, pp.239-274, 2010-10

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This paper discusses the issue of realism in Japanese manga and American animation and suggests that we should change the framework which is dominant in Japanese criticism of manga in recent years by focusing the history of American animation. First, we refer to discussions by Eiji Otsuka and Go Ito who are the most influential critics of manga today. Otsuka insists that Japanese manga originated from American animation, whose characters have bodies which are never injured. Then he argues that Japanese manga got realism after the war by giving realistic bodies to such non-realistic characters. On the other hand, Ito insists that the reality of the character is based on the simplicity of drawing. Although there are differences between them, they both focus on the “character” and their frameworks prevent us from capturing another kind of realism which could be found by focusing contemporary 3DCG animations. 3DCG animations led by Pixar resulted from the development of techniques to represent physical space in reality. This paper describes it as a shift from “dots of ink” to “the falling body”. In Disney’s early works, we often find gags such that a character in the air doesn’t fall until he notices that he doesn’t have supports. Such meta-fictional gags reveal that the animation is nothing more than “dots of ink” rather than “representations of reality”. The history from early Disney to Pixar has aimed to represent physical space which has the law of gravity, hiding its origin as “dots of ink”. This shift also occurred in Japanese manga, but it is hard to find it because of the framework which focused on “character”. Therefore, this paper suggests the change from “character” to “space”. Of course, manga and animation have retained its origin despite the progress of tendency to represent reality. Therefore, we can describe the history of them as the history of conflicts between “dots of ink” and “representations of reality”.

著者

内藤 豊裕

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.24, pp.317-347, 2015

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Au japon, certains acteurs sont spécialisés dans l'usage de la voix. On les appelle Seiyû. Contrairement à ce qui se passe en Europe, le doublage japonais ne se soucie guère de synchroniser l'image et la voix. HIROKAWA Taichirô, l'un des Seiyû les plus populaires au Japon, a entrepris de détacher le doublage de la synchronisation dès les années 1970, créant ainsi la vogue du doublage excessif. Ce type de doublage tient compte de la réalité de l'acteur en dehors du personnage auquel il prête sa voix. Ce phénomène trouve son origine dans les conditions de l'introduction du cinéma au Japon.Quand les premiers fi lms muets ont été importés, les Japonais d'alors étant incapables de lire les intertitres, un benshi commentait en direct les événements produits sur l'écran, à la manière du présentateur d'une baraque foraine. Ce benshi était partie intégrante du spectacle cinématographique. Par la suite, le Japon a produit ses propres fi lms muets, généralement constitués de pièces de théâtre enregistrées par la caméra.Ces fi lms étaient très pauvres en moyens narratifs, faute d'intertitres et de montage et du fait de la technique primitive des caméras. Pour y suppléer est apparue une forme particulière d'annoncier, les kowairo-benshi : aussi nombreux que les personnages du fi lm, ceux-ci lisaient le dialogue en direct, mais se limitaient à échanger des répliques, sans aucun commentaire ou description narrative. Leur corps était visible du public.Il est clair que leur fonction ressemble à celle de Seiyû.La généalogie du Seiyû passe donc par le kowairo-benshi, ce qui entraîne deux conclusions : d'abord que le Seiyû prend en charge le dialogue en tant que composante indispensable de l'action, ensuite que son corps se dédouble entre le personnage du fi lm et la réalité de la voix seule.

著者

松本 奈々

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.27, pp.1-61, 2018

著者

多和田 真太良

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.23, pp.139-175, 2014

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The middle class who has risen by the Industrial Revolution became a new bearer of theater culture in Britain of the second half in the Victorian Age. Although they have little cultural knowledge, new amusement was required for them who want imitation of high society, and the Savoy opera won popularity as a genre which suited their hobby. The most successful work is the "Mikado" which made fi ctitious Japan the stage. As The japonaiserie showed a wide spread those days, and as the Japanese village was opened in relation to it , they are said that it has infl uenced greatly to the idea of the dramatist W. S. Gilbert. But the charm of the "mikado" which was proud of explosive popularity is not simply an absurd thing. The image of the "Japanese" with whom the spectator was restrictively acquainted by a Japanese entertainer's appearance, and the image and the story of the familiar anecdote which British people know well. We should not reappraise as a form of the new performing arts which the skill as a dramatist of Gilbert who created the reality in "the country which is not anywhere", "Never-never-land", and the skill as a new role, "drama director".

著者

片野 智子

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.24, pp.155-185, 2015

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"The Face of Another" is a story written by Kobo Abe in 1964. A man has lost his face and, with it, connection to other people. So he wants to create a mask that replaces his lost face――the face of another. The purpose of this study is to discuss what the face is and what role his mask plays. In the fi rst place, the face has three properties. The fi rst property is self- alienation. A number of studies on "The Face of Another" has proposed that his lost face is a metaphor of the problem that capitalist society causes――the loss of identity. In capitalist society, we human beings have lost "real" faces (a metaphor of identity). It is a problem of self-alienation. However, we cannot see our own faces without mirrors and facial expressions of other person. It is the most important problem of self-alienation. The second property is connection to spirit. In terms of the concept of "real" face, our faces are connected with our spirits. But the distinction between outside and inside (face,body and spirit) has made in contemporary times. The concept of "real" face is also the same. The third property is mutual.We cannot see our own faces, so we make our own images through other eyes. That is to say, the face is not a personal and natural phenomenon but a social and artifi cial phenomenon. It is a very important tool to communicate. For example, face-toface communication is more effective and trustworthy than other types of communication such as telephone or email. Some certifi cates require a photograph of face. However, his mask is the face of another. Such mask is more than a disguise because it is a new self that is capable of anything. His mask has the potential to make face-to-face communication useless――even destroy all kinds of communities. In future, because of development of cosmetic surgery, his mask will be realized. However,his wife penetrates his mask and criticizes him. She claims that we should communicate each other by means of our faces,on the other hand, he claims that we should wear masks such as his mask to overcome self-alienation. Even nowadays, it is aporia which opinion is correct.

著者

多和田 真太良 Shintaryo TAWATA

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 = Gakushuin University studies in humanities (ISSN:09190791)

巻号頁・発行日

no.23, pp.139-175, 2014-10

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The middle class who has risen by the Industrial Revolution became a new bearer of theater culture in Britain of the second half in the Victorian Age. Although they have little cultural knowledge, new amusement was required for them who want imitation of high society, and the Savoy opera won popularity as a genre which suited their hobby. The most successful work is the “Mikado” which made fi ctitious Japan the stage. As The japonaiserie showed a wide spread those days, and as the Japanese village was opened in relation to it , they are said that it has infl uenced greatly to the idea of the dramatist W. S. Gilbert. But the charm of the “mikado” which was proud of explosive popularity is not simply an absurd thing. The image of the “Japanese” with whom the spectator was restrictively acquainted by a Japanese entertainer’s appearance, and the image and the story of the familiar anecdote which British people know well. We should not reappraise as a form of the new performing arts which the skill as a dramatist of Gilbert who created the reality in “the country which is not anywhere”, “Never-never-land”, and the skill as a new role, “drama director”.

著者

小宮山 敏和 Toshikazu Komiyama

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 = Gakushuin University studies in humanities (ISSN:09190791)

巻号頁・発行日

no.15, pp.59-92, 2006-10-31

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By this paper, I am for the purpose of considering a position of so-called Fudai Daimyo in relations of the Shogunate for the early modern times, and vassal structure and a power structure of the Tokugawas for the medieval period to the early modern times. For an object, I examine mainly on Tatebayashi/Shirakawa times of the daimyo Sakakibaras who makes the last Tokugawa period Echigo Takada Han. Concretely, the first, I confirm an origin and a position in the whole Tokugawas of the Sakakibaras. The next, I consider a formation process and a characteristic of the Sakakibara’s vassals. For a characteristic in vassal formation of the Sakakibaras, there are not most of the hereditary vassal from the Middle Ages, and to organize the vassal who can call it with O-tsukibito attached to by Ieyasu in the core. It is a characteristic to be seen in specific the Fudai Daimyo vassal formation of the Ii’s and so on, and cannot confirm this with a Tozama Daimyo and Fudai Daimyo of the new collection. And last, I survey a position of Fudai Daimyo in structure and rerations of the Shogunate.

著者

坂本 昭彦

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.30, pp.135-170, 2021

著者

本多 慶輝

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.29, pp.85-104, 2020

著者

高橋 由季子

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.21, pp.185-209, 2012

著者

張 明

出版者

学習院大学大学院人文科学研究科

雑誌

学習院大学人文科学論集 (ISSN:09190791)

巻号頁・発行日

no.28, pp.69-85, 2019

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There are six Sino-Japanese morphemes meaning 'incompleteness', which arehuku, han, jun, jun, a and jo. In addition to the meaning and usage of the Sino-Japanese morphemes, this paper also discusses what kind of the systematicity theyconstitute, inspired by the data collected from the BCCWJ. First, this paper examines the systematicity of the Sino-Japanese morphemesfrom the perspective of their meanings and usages. Both huku and jo do not mean"central" or "main". The meanings of han, jun, jun and a impart an insufficientnature. More specifically, han should be used before nouns that cannot beseparated, which express the meaning of degree; while Jun, jun and a are usedbefore nouns that are easy to be separated, which express the meaning of stage.Second, this paper also examines the systematicity of the Sino-Japanesemorphemes from the perspective of their productivity. The productivity of huku,han, jun is high, while that of jo, jun, a is relatively low. As mentioned above, the Sino-Japanese morphemes meaning 'incompleteness'such as huku, han, jun, jun, a and jo constitute the systematicity.