著者

八木 茂樹

出版者

広島芸術学会

雑誌

芸術研究 (ISSN:09149872)

巻号頁・発行日

no.16, pp.45-58, 2003

著者

李 建志

出版者

広島芸術学会

雑誌

藝術研究 (ISSN:09149872)

巻号頁・発行日

no.23, pp.59-73, 2010

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日本のテレビドラマでは、在日朝鮮人がどのように描かれてきたのだろうか。本稿では在日朝鮮人と呼ばれるエスニック・グループに出自をもつ松田優作の主演ドラマ「探偵物語」で、多くのマイノリティが登場しながらも日本最大のマイノリティとでもいうべき朝鮮人が描かれなかったことから、在日朝鮮人の隠蔽という問題を考える。これは、アメリカ発の世界的テレビドラマといっていい「刑事コロンボ」における黒人表象と重なるものだといえる。すなわち、イタリアン(ホワイト・マイノリティ)であるコロンボが、WASPの犯人を追いつめるというドラマの影に、本当の民族問題としての黒人やプエルトリカン(あるいはユダヤ系)は描かれないという構図をもっており、これが「探偵物語」の朝鮮人隠蔽と相似形であると考えるからだ。また、その「探偵物語」に先行するドラマとして渥美清主演「泣いてたまるか!」のなかの「豚とマラソン」を取りあげ、日本のテレビドラマで朝鮮人がいかに描かれていったのか、そして在日朝鮮人の描き方として「人格者」としてしか描けない、すなわち隠蔽のコードに埋もれてしまうまでの筋道を論じる。

著者

坂口 将史

出版者

広島芸術学会

雑誌

藝術研究 (ISSN:09149872)

巻号頁・発行日

no.30, pp.13-27, 2017-07-13

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Currently, we are surrounded by numerous manga, anime and television game characters. This paper explicates the influence of character design development on character properties by focusing on a character created by Narita Tohl (1929- 2002), Kaiju.In ancient times, the kaiju symbolized a creature that transcended all human knowledge because it was a combination of animal parts; the ancient people believed animals were formidable. However, the current combinations used to depict the kaiju do not represent the supernatural abilities of the creature because people today do not believe in the power of animals. Designers before Narita had defined kaiju as a living creature and created using those combinations because they believed a realistic kaiju should have a body comprising known animal parts. By contrast, Narita defined kaiju as an unknown animal, and therefore his kaiju design incorporated inanimate and abstract forms.Thus, Narita freed the kaiju design from the restriction of using known animal parts. By means of this liberation, the symbolic form of kaiju, prevalent during the ancient times, was restored. Thus, the character design development by Narita changed the property of the character.

著者

片山 俊宏

出版者

広島芸術学会

雑誌

藝術研究 (ISSN:09149872)

巻号頁・発行日

no.31, pp.35-52, 2018-07-27

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A unique sitting form called the Okada Sitting Method (OSM) was created in the Meiji period. It is practiced by sitting on one's heels when sitting on the ground, like Seiza. Although it is a seemingly painful form, it was popularized as a therapy for healing the body and mind in the Taisy6 period. OSM was a body technique that made full use of the laws of motion like a balancing toy. Namely, it puts one's weight straight down to the Earth and enhances the movement flying towards heaven through the physical law of the reaction to it. Practitioners had a sense that this Rebound Movement was exerted beyond the scale of self by gravity that works between heaven and Earth. They also felt that this movement was derived from the upward and downward motion of the heat beat by breathing; thus, they felt as though they could wholly reconcile themselves with the universe. Moreover, they could obtain, as an integrated movement, a sense of flying, euphoria, and stability or composure, which were the two measured elements for deep satisfaction of body and mind. OSM gave practitioners deep healing in both body and mind.

著者

安西 信一

出版者

広島芸術学会

雑誌

藝術研究 (ISSN:09149872)

巻号頁・発行日

no.6, pp.19-32, 1993-07-16

著者

本田 代志子

出版者

広島芸術学会

雑誌

藝術研究 (ISSN:09149872)

巻号頁・発行日

no.32, pp.1-17, 2019-08-01

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本研究はJSPS科研費JP18K0062の助成を受けたものです。

著者

陳 貞竹

出版者

広島芸術学会

雑誌

藝術研究 (ISSN:09149872)

巻号頁・発行日

no.21, pp.41-56, 2009

著者

渡辺 千尋

出版者

広島芸術学会

雑誌

藝術研究 (ISSN:09149872)

巻号頁・発行日

no.30, pp.29-43, 2017-07-13

著者

桑島 秀樹

出版者

広島芸術学会

雑誌

芸術研究 (ISSN:09149872)

巻号頁・発行日

no.16, pp.29-43, 2003

著者

于 君

出版者

広島芸術学会

雑誌

藝術研究 (ISSN:09149872)

巻号頁・発行日

no.29, pp.17-30, 2016-07-15

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This paper is an extension of my research done on the samurai image in Heike Monogatari (The Tale of the Heike) by focusing on the words "Na", "Kou", "Tyu", "Zyou" used in describing samurai in Heike Monogatari. It aims to clarify one aspect of Samurai imagery in Taiheiki (Chronicle of Great Peace) which is also a feature of the genre Gunki Monogatari (war tales) set in the middle ages of Japan.In the historical epic Taiheiki, one of the elements that characterize the narrative about the samurai is multiple appearance of the word "On". In order to explore the aspect of samurai's "On" in Taiheiki, I will contrast it against the "On" of the samurai in the preceding Gunki Monogatari "Heike Monogatari· ". To conclude, it is found that in Heike Monogatari, the word "On" is mostly used in didactic context. However, in Taiheiki, in war scenario which is closely connected to life and death of samurai. irrespective of lord-vassal relationship, and even in peer relationship and relationship with enemy also, "On" is emphasized as a living concept which is an important factor affecting samurai activities. In Taiheiki, there is lively depiction of samurai who have strong awareness of "On" and have repaid the "On" by putting their life at risk.

著者

上野 仁

出版者

広島芸術学会

雑誌

藝術研究 (ISSN:09149872)

巻号頁・発行日

no.19, pp.35-50, 2006

著者

中野 逸雄

出版者

広島芸術学会

雑誌

藝術研究 (ISSN:09149872)

巻号頁・発行日

no.25, pp.11-27, 2012