著者

荒畑 靖宏

出版者

成城大学

雑誌

ヨーロッパ文化研究 (ISSN:02850907)

巻号頁・発行日

vol.33, pp.29-120, 2014-03

著者

木村 建哉

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.20, pp.1-18, 2014-03

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The Castle of Cagliostro (1979) is the first feature film (long film) by MIYAZAKI Hayao, the most famous Japanese anime director. In this article I will show that this animation film is a typical swashbuckler very much influenced by classical Hollywood ones. For that purpose, I first argue what classical Hollywood swashbucklers are, and briefly explain the history of this genre (or subgenre of adventure movies). Second I clarify typical traits of narratives and ways of directing of classical Hollywood swashbucklers. Then I show not only that The Castle of Cagliostro is a typical swashbuckler but also that it is one of the best swashbucklers in the film history, and I suggest that influences of classical Hollywood movies should be more taken into account in thinking about and analyzing MIYAZAKI's films.

著者

佐伯 有清

出版者

成城大学

雑誌

成城文藝 (ISSN:02865718)

巻号頁・発行日

vol.186, pp.24-47, 2004-03-25

著者

高木 昌史

出版者

成城大学

雑誌

成城文藝 = The Seijo Bungei : the Seijo University arts and literature quarterly (ISSN:02865718)

巻号頁・発行日

no.224, pp.22-42, 2013-09

著者

篠塚 勝正 窪田 三喜夫

出版者

成城大学

雑誌

成城文芸 (ISSN:02865718)

巻号頁・発行日

no.221, pp.98-84, 2012-12

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Among three distinctive types of Japanese writing systems (Kanji, Hiragana and Katakana), a behavioral experiment using 97 university students as subjects implies that Katakana is regarded as most difficult (approximately 90%) followed by Hiragana (10%) for the comprehension. Kanji is easiest to comprehend (100%). This indicates Kanji might be comprehended by accessing semantic recognition directly. On the other hand, Hiragana and Katakana might be comprehended by accessing semantic recognition through phonological recognition with an obligatory subvocalization. However, the subvocalization could occur depending on the familiarity or difficulty of stimuli. I also conclude that the subvocalization includes shallow to deep ones depending on the three Japanese writing systems. In addition, interpreters and translators should avoid using Katakana words as much as possible in order for both their listeners and readers to ease their cognitive workload for understanding the meanings of the words.

著者

工藤 力男

出版者

成城大学

雑誌

成城文芸 (ISSN:02865718)

巻号頁・発行日

no.186, pp.61-64, 2004-03

著者

ゲルハルト=クレープス[著] 田嶋 信雄 井出 直樹[訳]

出版者

成城大学

雑誌

成城法学 (ISSN:03865711)

巻号頁・発行日

no.63, pp.279-320, 2000-11

著者

小倉 健太郎

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.21, pp.37-59, 2015-03

著者

小倉 健太郎

出版者

成城大学

雑誌

成城美学美術史 (ISSN:13405861)

巻号頁・発行日

no.19, pp.63-81, 2013-03

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American philosopher Charles Sanders Peirce (1839-1914) categorized the various classes of signs, one of which is the index. Peirce insists that photographs "belong to the second class of signs, those by physical connection." In other words, photographs belong to the index. In the 1970s, American art critic Rosalind Krauss (b. 1941) introduced Peirce's idea about photographs in an article. Since then, this idea has resulted in many arguments among photography critics. Until now, these arguments have fallen into a blind alley. It appears as though the term "index" is useless in describing the twenty-first century notions about photography. However, is Peirce's idea true? In this article, I contend that the index is still relevant in the digital age. According to Peirce, the fact that a photograph "is known to be the effect of the radiations from the object renders it an index." Therefore, the important factor necessary for a photograph to function as an index is that, as Jean-Marie Schaeffer (b. 1953) said, "We know that it is a photograph and know what this fact entails." According to this knowledge, a photograph functions as an index. In the digital age, the function of a photograph as an index is fading. There are two reasons for this. First, in the digital age, the flood of images prevents our efforts to reach the origin of the images. Second, CGI (Computer Generated Image) is indistinguishable from the photographic image, and we know that these CGIs are widely used. Thus, in the digital age, we may not be able to distinguish that it is a photograph.American philosopher Charles Sanders Peirce (1839-1914) categorized the various classes of signs, one of which is the index. Peirce insists that photographs "belong to the second class of signs, those by physical connection." In other words, photographs belong to the index. In the 1970s, American art critic Rosalind Krauss (b. 1941) introduced Peirce's idea about photographs in an article. Since then, this idea has resulted in many arguments among photography critics. Until now, these arguments have fallen into a blind alley. It appears as though the term "index" is useless in describing the twenty-first century notions about photography. However, is Peirce's idea true? In this article, I contend that the index is still relevant in the digital age. According to Peirce, the fact that a photograph "is known to be the effect of the radiations from the object renders it an index." Therefore, the important factor necessary for a photograph to function as an index is that, as Jean-Marie Schaeffer (b. 1953) said, "We know that it is a photograph and know what this fact entails." According to this knowledge, a photograph functions as an index. In the digital age, the function of a photograph as an index is fading. There are two reasons for this. First, in the digital age, the flood of images prevents our efforts to reach the origin of the images. Second, CGI (Computer Generated Image) is indistinguishable from the photographic image, and we know that these CGIs are widely used. Thus, in the digital age, we may not be able to distinguish that it is a photograph.

著者

牧野 陽子

出版者

成城大学

雑誌

成城大學經濟研究 = Seijo University economic papers (ISSN:03874753)

巻号頁・発行日

no.201, pp.118-92, 2013-07

著者

伊奈 正人

出版者

成城大学

雑誌

成城大学社会イノベーション研究 (ISSN:18806414)

巻号頁・発行日

vol.10, no.1, pp.39-60, 2015-01

著者

篠川 賢

出版者

成城大学

雑誌

成城文藝 (ISSN:02865718)

巻号頁・発行日

no.200, pp.1-16, 2007-09

著者

佐々木 孝浩

出版者

成城大学

雑誌

成城国文学 (ISSN:09110941)

巻号頁・発行日

no.29, pp.27-42, 2013-03

著者

ハワード・S・ベッカー[著] 後藤 将之 海老田 大五朗(訳)

出版者

成城大学

雑誌

コミュニケーション紀要 (ISSN:02887843)

巻号頁・発行日

vol.13, pp.23-50, 2000-03

著者

大森 弘喜

出版者

成城大学

雑誌

成城大學經濟研究 = Seijo University economic papers (ISSN:03874753)

巻号頁・発行日

no.196, pp.1-58, 2012-03

著者

ゲルハルト=クレープス[著] 田嶋 信雄 井出 直樹[訳]

出版者

成城大学

雑誌

成城法学 (ISSN:03865711)

巻号頁・発行日

no.64, pp.237-268, 2001-01

著者

古田 尚輝

出版者

成城大学

雑誌

成城文芸 (ISSN:02865718)

巻号頁・発行日

no.204, pp.117-94[含 英語文要旨], 2008-09

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本論は、1980年代後半から90年代前半にかけてフランスで大量に放送された日本のテレビ・アニメーションが与えた衝撃と反響を考察する試みである。本論では、これを研究が未開拓であった日本のアニメーションの輸出を手掛かりに探る。 東映動画が製作した『UFOロボ・グレンダイザー』が『ゴールドラック』(Goldorak)と改題してフランスで放送され始めたのは、30年前の1978年7月のことであった。この作品は、従来フランスで放送されていた幼児を対象としたアニメーションとは全く異質で、ロボットを主人公としたキャラクター設定やストリー展開の早さなどで異常な反響を呼んだ。これがきっかけとなって、日本のテレビ・アニメーションの地上波での放送は折からの商業テレビ局の開局を背景に80年代後半から急増し、90年にはアニメーション放送全体の35%を占めるに至った。これを東映動画の記録で見ると、フランスへ輸出されたテレビ・アニメーションは70年代から90年代に東映動画が製作した作品の約60%にも上っている。 しかし、こうした異質な文化の集中豪雨的な輸出は、異文化への免疫性に乏しく批判的視聴を経験していない子どもたちの人気を沸騰させる一方で、アニメーションは幼児向けという既成概念に捕われた親たちの激しい拒絶反応を招いた。日本のアニメーションは暴力的、性的で教育上好ましくないと批判され、90年代後半に入ると批判を恐れる放送局の編成方針も影響してその比率はアニメーションの放送全体の7%にまで激減した。現在では視聴者が限定された衛星放送やケーブル・テレビで細々と放送されているだけである。そして、これによって生じた地上波放送の空白を埋めるかのように、フランスのアニメーション産業は手厚い保護育成策に守られて再起し、アニメーション放送全体に占める割合は80年代後半の約17%が2000年代には約35%に倍増するまでに至っている。 日本のテレビ・アニメーションのかつての"氾濫"と現在の衛星波などでの微々たる放送との激しい落差、その間接的な効果としてのフランスのアニメーション産業の再起。これらは表面的には"異文化の囲い込み"の成功とも解釈出来よう。しかし、その一方で、幼児期に日本のテレビ・アニメーションの大量放送によって触発された好みや感性が今やフランスの青年層に内在化し、"第2のジャポニスム"の底流を形成しているとも考えられる。著者には、一見矛盾するような"異文化の囲い込み"と"第2のジャポニスム"のいずれもが『ゴールドラック』の残影のように思われる。This paper is an attempt to study the impact and repercussions of Japanese television animation widely broadcast in France from the late 1980s to early 1990s by observing the exportation of Japanese animation, which has not received much attention from researchers. In July of 1978, the French TV public channel Antenne2 began broadcasting Toei Animation's UFO Robot Grendizer, changing the title to Goldorak. With its robot hero and fast-paced storyline, contrasting sharply with traditional works of animation broadcast for small children, the program was an extraordinary success. This led to a rapid increase in the broadcasting of Japanese animation on French television in the latter half of the 1980s at a time when new commercial TV stations were being launched, and by 1990, over 35 percent of animation programs in France were Japanese. According to Toei Animation records, about 60 percent of their productions were exported to France from the 1970s into the 1990s. This cultural-import deluge, while tremendously popular with children, who were unprejudiced about foreign culture and uncritical in their viewing habits, aroused much concern among parents, who were accustomed to animation as a gentle, innocent medium for small children. Japanese animation was severely criticized as being too violent, sexually explicit, and unsuited for children, and by the late 1990s, as French TV stations sought to ward off further public criticism, only 7 percent of the animation broadcast in France were Japanese. Today, Japanese animation is only shown on satellite and cable networks to a limited audience. The animation vacuum was filled, thanks to generous protective government subsidies, through a fortuitous comeback by France's own animation industry, which doubled its share of all animations broadcast in France from 17 percent in the late 1980s to 35 percent by the early years of the 2000s. The flood of Japanese animations of the past, and their current limited broadcasting on satellite and cable stations, along with the revival of the French animation industry as the indirect result, might be superficially interpreted as a success in the "encirclement" of alien culture. On the other hand, the tastes and sensibilities cultivated in the period when Japanese animation was broadcast in large volume during the childhood of a generation of young people in France may have been internalized, setting in motion a "second wave Japonisme." These two contradicting factors of "alien culture encirclement" and "second Japonisme" both seem to be reverberations of the "Goldorak" era.

著者

千足 伸行

出版者

成城大学

雑誌

美學美術史論集 (ISSN:09132465)

巻号頁・発行日

no.1, pp.111-200, 1980-03

著者

立花 幸司

出版者

成城大学

雑誌

成城文藝 (ISSN:02865718)

巻号頁・発行日

no.220, pp.51-33, 2012-09

著者

後藤 将之

出版者

成城大学

雑誌

コミュニケーション紀要 (ISSN:02887843)

巻号頁・発行日

vol.26, pp.71-86, 2015-03

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The author, a nearly 30-year long educator having taught at various universities and research institutions, discusses problems of classroom attendance and students' psychology of class taking, mainly from a specific type of students' mind-set, which is here called as "GPA perspective," in this Part 1 of a series of intended research reports. GPA perspective is a concept used by sociologist H. S. Becker and collaborates in 1968, a concept that refers to an attitude of students who are only interested in grade-getting and nothing other. Since a GPA perspective-oriented student is motivated to nothing but to acquire the best possible GPA while paying the least possible effort, some untraditional behaviors in classrooms are frequently enacted and observed. The author, a specialist of symbolic interactionism sociology, describes many concrete instances of GPA perspective-oriented students' not-before-seen behaviors in classroom, their attitudes and opinions explicit and implied in classroom interactions, particularly focusing on one but many faceted aspect of educational process: classroom attendance.