文献一覧: 成城大学 (出版者)

There are dolls that speak, move their limbs, and have an intimate relationship with people. A doll, which is artificial, and a human being fall in love and become a couple or create a parent-child relationship. Such a relationship is sometimes regarded as deviant. This paper analyzes the relationship between a doll that seems to have life and an individual without assuming that the relationship is deviant. In the interpretation based on existing magic theory, a doll is regarded as something that is infused with life from human beings. The interpretation integrates a doll with life into a human but segregates the existence of human life from the existence of a material doll. Such interpretation treats the doll as material, not as human. Therefore, it is not possible to comprehend the intimate relationship between a doll and a human. Instead of resolving the division between human and non-human material, this paper focuses on the "updated" relationship between doll and world, and considers that doll life is infused with life from a human being.

2019-05-08 01:04:06
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http://id.nii.ac.jp/1109/00003434/

2 0 0 0 IR 『日本霊異記』の異類婚姻譚 : 神話から仏教説話へ (杤尾武教授退職記念)

著者: 小林真由美
出版者: 成城大学
雑誌: 成城國文學論集 (ISSN:02869063)
巻号頁・発行日: vol.31, pp.35-53, 2007-03

2019-03-28 20:34:40
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https://ci.nii.ac.jp/naid/110006617225

2 0 0 0 <論説>18世紀イングランドの陪審制の一端:ブラックストーン『イングランド法釈義』第3巻第23節「陪審制について」の紹介を通して (矢崎光圀先生古稀祝賀記念号)

著者: 角田猛之
出版者: 成城大学
雑誌: 成城法学 (ISSN:03865711)
巻号頁・発行日: no.48, pp.227-253, 1995-03

2018-11-23 16:30:20
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https://ci.nii.ac.jp/naid/110000246411

2 0 0 0 OA 死者表象の民俗学的研究 : 神格化と偉人化という視点から

著者: 及川祥平
出版者: 成城大学
巻号頁・発行日: 2015-02-20

成城大学学位規則第6条第3項

2018-05-23 22:32:26
2 + 2 Twitter

http://id.nii.ac.jp/1109/00003350/

2 0 0 0 有意味シンボルについての行動主義的説明

著者: ミードジョージハーバート後藤将之(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.10, pp.85-100, 1995-08

https://ci.nii.ac.jp/naid/110000106282

2 0 0 0 IR 谷崎潤一郎「孝」の教えをめぐって : 『不幸な母の話』考

著者: 横田彩花
出版者: 成城大学
雑誌: 成城国文学 (ISSN:09110941)
巻号頁・発行日: no.28, pp.77-92, 2012-03

2017-07-22 08:30:19
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https://ci.nii.ac.jp/naid/120005511688

2 0 0 0 OA 明治期の兵語辞書について(三) : ドイツ語を中心にして

著者: 信岡資生
出版者: 成城大学
雑誌: 成城大學經濟研究 (ISSN:03874753)
巻号頁・発行日: vol.165, pp.1-45, 2004-06-20

2017-04-10 10:40:52
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1 + 1 Wikipedia

https://ci.nii.ac.jp/naid/110004028076

2 0 0 0 IR "哲学と文献学の新たな仲違い" : プラトーンの詩人論を解釈するコリンウッド

著者: 津上英輔
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.17, pp.1-15, 2012-03

R. G. Collingwood in The Principles of Art (1938) discusses Plato's theory of poetry in Republic 10, coming to the general conclusion that not poetry as a whole but only the representative part of it was banished from his ideal state. The three footnotes (pages 46 and 48) given in this connection on grammatical interpretation of specific passages in the original Greek text catch the reader's eye with their disproportionate minuteness. This paper attempts to make clear his motive for this by examining his reading of the original passages as well as the framework in which the subject is dealt with in The Principles of Art, by comparing it with his earlier essay "Plato's Philosophy of Art", to which he expressly refers in one of the three notes, and by matching his theory of art and representation with that of Plato's. These investigations show that Collingwood, while mostly keeping sound in philological terms, wanted to interpret Plato's criticism of representation to conform to his own conception of it. According to Collingwood, Plato failed to distinguish between magical representation and amusement representation, with the result that Plato attacked representation at large, instead, as he should, of amusement representation only. It was under such a scheme that the modern philosopher gave the seemingly superfluous philological notes.R. G. Collingwood in The Principles of Art (1938) discusses Plato's theory of poetry in Republic 10, coming to the general conclusion that not poetry as a whole but only the representative part of it was banished from his ideal state. The three footnotes (pages 46 and 48) given in this connection on grammatical interpretation of specific passages in the original Greek text catch the reader's eye with their disproportionate minuteness. This paper attempts to make clear his motive for this by examining his reading of the original passages as well as the framework in which the subject is dealt with in The Principles of Art, by comparing it with his earlier essay "Plato's Philosophy of Art", to which he expressly refers in one of the three notes, and by matching his theory of art and representation with that of Plato's. These investigations show that Collingwood, while mostly keeping sound in philological terms, wanted to interpret Plato's criticism of representation to conform to his own conception of it. According to Collingwood, Plato failed to distinguish between magical representation and amusement representation, with the result that Plato attacked representation at large, instead, as he should, of amusement representation only. It was under such a scheme that the modern philosopher gave the seemingly superfluous philological notes.