著者

庄司 恭子

出版者

東京女子大学

雑誌

史論 (ISSN:03864022)

巻号頁・発行日

vol.6, pp.413-416, 1958

著者

守谷 亜紀子

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.57, no.2, pp.31-50, 2007-03

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Yukio Mishima's Ao no Jidai paints a picture of a young person's life that is ruined. However, the work does not allow the reader to feel the tragedy. Rather, the hero is painted in a humorous way. This is because of the irony in the work. This irony is an important element that influences the world of the story. I analyzed the irony in Ao no Jidai. The irony is a way of making things relative. There are four characteristics of the irony: the indivisibility of two sides, destructiveness, creativity, and escapism and self-defense. In this paper, Ao no Jidai is analyzed on the basis of each characteristic. The analysis shows that the hero is a person alienated from the real world. Moreover, his inner side is described humorously and treated as false. The hero's self-destructive way of life is also ironical. Ao no Jidai is funny and also tragic. It can be said that hero's way of life is tragic, but regarding the human inner side as false is the characteristic irony of this work. The humor in Ao no Jidai is one side of the world of the nothingness which negative irony makes.

著者

守谷 亜紀子

出版者

東京女子大学

雑誌

日本文學 (ISSN:03863336)

巻号頁・発行日

vol.102, pp.87-99, 2006-03-15

著者

小川 圭治

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.39, pp.21-46, 1978-01

著者

小川 圭治

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.38, pp.32-48, 1977-01

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Hong De Yong (洪大容1731〜1783) was an excellent encyclopedist and scientist who played an active part in the scientific history of Korea. According to his concept, the universe is infinite and boundless with countless stars filling it up. This is almost equal to J. Bruno's concept of the universe. This article aims to introduce an outline of his theory of the infinite universe which is developed in his work called "Yi Shan Wen Da" (〓山問答), and to investigate its origin. My conclusions are as follows. 1. His theory is based on The Hsiian Yeh Teaching (宣夜説), which was one of the ancient Chinese cosmologies. 2. His theory destroyed the traditional theories such as the cosmic dual forces (陰陽説) and the five natural elements (五行説) by difining the relation between the sun and the earth.

著者

吉村 朋子

出版者

東京女子大学

雑誌

史論 (ISSN:03864022)

巻号頁・発行日

vol.58, pp.49-68, 2005

著者

山中 信夫

出版者

東京女子大学

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.57, pp.31-53, 1996

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Publications relating to Soseki are now enjoying another boom in Japan. Of course, this is owing partly to the effective publicity campaign of Iwanamishoten, one of the publishers of Soseki's works, on publishing once again a new complete edtion of his works, but there seem to be deeper, underlying reasons for his recent revival. Those reasons are so complicated and many-faceted, as well as so deeply hidden and elusive, that for the present there is no way but to try and inquire along some tentative lines, depending upon intuitive inferences. In this connection, firstly, Soseki's peculiarly free and flexible mind should be mentioned. He has a penetrating intellect and was capable of thinking for himself, among and against the overwhelming influences of European culture in the Japan of the Meiji era. Many critics are interested in Soseki's free, unprejudiced and radical way of thinking. Karatani, one of the leading critics of Soseki, has said in a symposium on Soseki that perhaps Soseki was the first and only theoretical thinker in Japan, or rather the first and only Japanese who could think theoretically in the true sense of the word; 'to think theoretically' indicates, in this case, a radical, independent way of thinking with a view to reaching an objective theory, the model of which is that of natural science. In the same symposium, Hasumi, another leading Soseki critic, stated a similar view, adding that Soseki always thought and wrote without losing his amateurish naivety. Hasumi insists that the problem is what makes such an amateurish naivety go such a long way in his thinking as well as in his writing. This amateurish naivety of Soseki's may derive from his above-mentioned uniquely free and flexble mind. "A man who inaugurates an enterprise must be an amateur in the true sense of the word, and that is the case with a great artist." Those are Soseki's own words. An expert depends on his surpassingly rich experiences and can never be free from them, but there are some cases in life when experiences will never do, or, rather, will be a hindrance, as in the case of an artist who has to venture into an unexplored region. From another point of view, there is a particular time in history, an age of transition, when one cannnot depend upon experiences; changes are then so drastic and sweeping that the old paradigm is still half-alive, while a new one can not yet replace it; therefore, one is faced with brand-new circumstances. Here no one can help being an amateur in a sense. The Meiji era was such an age, and so is ours. Hence Soseki's peculiar popularity and importance at present. His Bungakuron (A theory of Literature) is unique in many points. It is a very early attempt to theorise about literature in general with a view to giving it the objectivity of natural science. At the same time, it is an desperate attempt by Soseki to regain self-confidence in the face of the overwhelming Western influences. The abundant quotations from English literature and their penetrating elucidations in the book are worthy of note even now, for we are still confronted with that problem of crosscultural relations; indeed its underlying difficulty will never diminish. Much instruction can still be drawn from Soseki's own way of tackling the cross-cultural problem of interpretaion. This essay is nothing but a preliminary study aimed at reading this Bungakuron. Firstly, it will refute Komori's interpretation of Soseki's definition of the subject matter of literature , especially the interpretation of the words "focal impressions and ideas," represented by F in the famous formula of literature(F+f). Komori is one of the most influential introducers of Soseki, and his view of Soseki seems to be constructed on the basis of this interpretation. Komori says he is surprised by the expression, "focal impressions and ideas," because 'impressions' and 'ideas' are diametrically opposite to each other, so that, from a commonsense point of view, the two words cannot be paralleled by means of the co-ordination 'and.' Apart from the word 'focal,' the expression "impressions and ideas" comes from Hume's A Treatise of Human Nature: "All the perceptions of the human mind resolve themselves into two distinct kinds, which I shall call impressions and ideas. The difference betwixt these consists in the degree of force and liveliness , with which they strike upon the mind, and make their way into our thought or consciousness. " Then, clearly, 'impressions' and 'ideas' are not so extremely opposite to each other from the point of view of British commonsense; the definitions of the word 'idea' given in OED confirm this. The next point concerns some contradictions in Soseki's definition. Beyond these contradictory expressions in the definition of literature, however, Soseki's intention and method can be discerned and reconstructed with a few modifications. Some of these revisions are suggested; for example, what is called 'the attaching emotions' can be understood to be 'those which follow'-that is, the posterior emotions. From this diachronic point of view , some uniformity will be achieved in the overall interpretation. Perhaps the most serious fault in Soseki's methodology is that, in his analysis of literary experience, he introduces the results of general psychology without necessary discrimination. As a result, those emotions peculiar to literature, which can be enjoyed only through reading, through the media of words, are not clearly distinguished from those experienced in everyday life.

著者

髙橋 修

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.69, no.2, pp.31-58, 2019-03-30

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Matsui Isamu(松井 勇1894~1946)who was an engineer of special effect(SFX)at first time mostly in Japan. He went to the United States in the Taisyo period, and learned cinematography technique from Roy. J. POMEROY who won Academy Award the 1st time. Matsui Isamu acquired the patents of a movie after he went back to Japan. He produced the movies of special effects. It wasn't being studied about him because there was little related material, therefore it was unclear about his life and work. This paper aims to clearfy the following two points:first of all, I will write Matsui Isamu’s biography, secondly, I will consider about the role he achieved in a Japanese movie. 松井 勇(1894 ~ 1946)は、日本映画界にあってほぼ最初期の特撮映画の技師である。彼は大正期にアメリカに留学をし、第1回アカデミー賞技術効果賞受賞者である R.ポメロイから映画技術を学んだ。日本に帰国してからは、映画に関する特許を取得し、特撮技術を活用した映画を発表した。 だが、従来の映画史では、関連資料が少なかったことから、彼に関する研究はなされておらず、その人と作品については不明であった。そこで本稿では、松井勇の生涯を実証的に明らかにし、そのことをとおして、彼が日本映画史に果たした役割を考察することを目的とする。

著者

林 正子

出版者

東京女子大学

雑誌

東京女子大学論集 (ISSN:04934350)

巻号頁・発行日

vol.18, no.1, pp.106-110, 1967-09

著者

光延 真哉

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.70, no.1, pp.1-35, 2019-09-30

著者

小林 一章 清 裕恵

出版者

東京女子大学

雑誌

Science reports of Tokyo Woman's Christian University (ISSN:03864006)

巻号頁・発行日

vol.38, no.3, pp.907-921, 1988-03-15

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We set up a computer programming to list up sequences corresponding to knot projections using Dowker-Thistlethwaite's algorism. Take a point P and a direction on a knot projection, traverse from P via the knot projection and label the crossing point in order. Since we across a crossing point twice, each crossing point has two labels. So if the knot projection has n crossing points, we get a sequence with 2n letters, i.e. a permutation (a_1, a_2...,a_<2n>) of 1, 2,...,2n, so that i and a_i are the labels corresponding to a same crossing point. So the mapping a: {1, 2,..., 2n}→{1, 2..., 2n} defined by a(i)=a_i satisfies a^2=id. and has a parity reversing. Dowker-Thistlethwaite gave necessary and sufficient conditions for a mapping a (or a permutation (a_1, a_2,..., a_<2n>)) corresponding to a knot projection. As their conditions are fitting into a computer programming, we set up a programming to list up sequences satisfying Dowker-Thistlethwaite conditions. We use N_<88>-BASIC as the programming language and a personal computer, PC9801 (NEC).

著者

黒崎 政男

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.61, no.1, pp.27-53, 2010-09

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A Japanese translation of Aristotle's De Anima that thematises what kokoro is has recently been discovered. It was done through the cooperation of Jesuit missionaries and Japanese in 1595 during the Kirishitan period (Kirishitan means early Christians in Japan in the 16th to 17th century). The manuscript fascinates us, not only because it tells us that the core of Western thought was already translated three hundred years before the Meiji era in which Japan truly encountered the West, but also because it includes an additional chapter on the permanence of anima rational humanica, which is not found in the Latin original.This suggests that it was absolutely necessary [for Christians] to preach the singularity and permanence of human kokoro (Quod anima intellectiva sit immortalis et aeterna), in order to disseminate Christianity in Japan where no fundamental distinction was made between human and animal kokoro (cf. F. Xavier, letter 29/1/1552). We can here confirm the basic difference between the Western anima and the Oriental kokoro.心とはいったい何か、を主題的に論じたアリストテレスの〈De Anima〉のキリシタン時代の日本語翻訳(1595)が最近発見された。江戸時代以前に西洋の核心となる思想が日本語翻訳されていたということ自体きわめて興味深いのだが、さらに面白いのは、日本語版には、オリジナルのラテン語版底本には存在しない「人間の理性的魂(anima rational)は永遠不滅である」という書き加えの章があることである。人間と動物との 〈心〉 の間に根本的差異をみとめない日本でキリスト教をひろめるには、 人間の 〈心〉 の特異性、 不滅性を教え込むことがどうしても必要だったのである。 ここに西洋と東洋のanimaと〈心〉の差異の基本的図式を確認することができる。

著者

今野 公美子

出版者

東京女子大学

雑誌

東京女子大学心理学紀要

巻号頁・発行日

vol.1, pp.37-42, 2005-03

著者

安藤 信廣

出版者

東京女子大学

雑誌

日本文學 (ISSN:03863336)

巻号頁・発行日

vol.96, pp.82-99, 2001-09-30

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本稿は前回にひきつづき、聖武天皇宸翰『雑集』中に収められている北周趙王宇文招の文集「周趙王集」の注解と全訳を試みたものである。前回までに、同集中の「平常貴勝唱礼文」四篇に訳注を付した。今回は「無常臨殯序」「宿集序」「中夜序」「薬師斎序」「児生三日満月序」の五篇に訳注を付す。

著者

川上 桜子

出版者

東京女子大学

雑誌

東京女子大学心理学紀要

巻号頁・発行日

no.1, pp.43-55, 2005-03

著者

笹淵 友一

出版者

東京女子大学

雑誌

東京女子大學論集 (ISSN:04934350)

巻号頁・発行日

vol.6, no.1, pp.1-44, 1955-12-20

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a. The members of Bungakukai were, almost without an exception, influenced by the idea of enlightenment, longed for political liberty, and became interested in Western culture. Their longing for political liberty and interest in Western culture had certain Romantic characteristic, but, at the same time, had social, outgoing, frank, materialistic and positive characteristics. The Romanticism observed in Bungakukai seems to have set its position when characteristics turned to be individualistic, internal, secretive, highbrow and idealistic. This change was caused by social failure, the influence of Protestantism and Western literature, ane the investigation into Japanese classics. b. The Main Categories of the Romanticism of Bungakukai 1. Christian Romanticism The influence of Protestanticism made the individuals isolated, metaphysical, and idealistic, and together with Christian literature (for instance, that of Dante and Wordsworth), oriented the individuals to the metaphysical way of thinking. The thirst for elegance transcending all, which is traditional in Japanese literature, may also have contributed, to some extent, to this formation of Romanticism, Its dominant ideas were "idea of inner life", "Platonic love" and "sense of imprisonment". They honoured sublimity, elegance, purity, imagination and inspiration, and considered passion as something ideal. (Tokoku, Tenchi, and other members of Bungakukai in its early period are found in this category.) 2. Dionysiac Romanticism Influenced by Byron, Shelley, Burns, Rousseau, Renan etc., they tried to think that human nature is not constrained. They tended to affirm nature, and they were anti-Christian (or anti-Puritan). (Toson, Shukotsu, Kocho and Tokuboku are found in this category.) 3. Art for Art's Sake AEstheticism, They wanted to be liberated by the power of art from the sense of imprisonment. Those people were influenced by Pater, Keats, Rossetti and other Renaissance artists. (Bin and Tokuboku are found in this category.) The above three categories were the basic styles of Bungakukai, but there was also a gradual development from the first category to the second and the third. (In Toson, both the first and the second categories existed.) c. The Limitation of the Romanticism of Bungakukai The Romantic ideas of the members of Bungakukai are limited by various contradictory ideas, such as, positivism (Taine), naturalism (Zola), realism (Kipling) and the tradition of Japanese literature. The rektion with the tradition of Japanese literature is especially important. We should pay attention to the fact that lyricism, the traditional characteristic of Japanese literature, limited the Western influence on the Romanticism of Bungakukai, especially with regard to its aspiration and imagination. Lyricism in "waka", "haiku", "kanshi" and "joruri", on the one hand, had positive significance concerning the formation of the Romanticism of Bungakukai, but, on the other hand, had a corroding influence on its Western characteristics.

著者

宇野 脩平

出版者

東京女子大学

雑誌

史論 (ISSN:03864022)

巻号頁・発行日

vol.5, pp.317-330, 1957

著者

栗原 純

出版者

東京女子大学

雑誌

東京女子大学比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.54, pp.37-62, 1993

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This article deals with the Japan's ruling policy toward her first colony, Taiwan. From the first, the Meiji government took an ambiguous attitude toward the colony with the alternative of giving the same legal status to it as to Japan proper, or governing it as a pure colony. And two factors influenced this policy ; the political situation in Taiwan and the relationship between the government and the Diet. First of all, in order to suppress the armed resistance of Taiwan people against Japanese rule, the government committed large-scale troops to the colony and at the same time appointed among military or naval officers a Taiwan governor, who was charged with strong authorities for administration, justice, legislation, and army. The government tried to deprive the Diet, which was then led by political parties, of the voice in the administration of Taiwan. But to meet the need of a tremendous sum of money for ruling the colony, including the military cost, it was necessary to refer a budget for Taiwan to the Diet. While the power over administration, justice, and army was granted through the Imperial decree, as to that of legislation the government wanted to gain the parliamentary approval to it. Thus the government submitted "the bill on laws and ordinances to be enforced toward Taiwan" to the ninth session of the Imperial Diet held in 1896. However, because it was to provide the Taiwan governor with the legislative, that bill was faced with a strong objection in the Diet under the name of a violation of the constitution. In March 1896, it was barely passed as the 63rd law, whose term of validity was just 3 years. This did not solve the essential problem of whether Taiwan would be under the constitution or not. In Taiwan, under the 63rd law, the anti-Japan resistance became so hard that the government was forced to spend much money in repressing it. Because of financial pressure, the government aimed to increase a land tax, which brought about its opposition with political parties and the repeated change of cabinet. Besides the date of enforcement of new treaties was just around the corner. The government had succeeded in the amendment of unequal treaties around the Japan-China War. But in this case too, it remained unsettled whether these new treaties would be applied to Taiwan or not. After all, the government concluded that both new treaties and the constitution would be effective in Taiwan, and expressed it officially. But before the end of the validity of the 63rd law, the government had the Diet recognize its prolongation. Thus based on the 63rd law with a unconstitutional taint, an authoritarian and dictatorial military rule was established in Taiwan.

著者

北條 文緒

出版者

東京女子大学

雑誌

東京女子大學附屬比較文化研究所紀要 (ISSN:05638186)

巻号頁・発行日

vol.51, pp.61-78, 1990

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This essay traces how the theme of time travel has unfolded in English children's novels of this century. I have chosen to examine some examples which particularly deal with the theme from a moral point of view, trying to bring into harmony the two worlds, the present and the past, and to show readers their location in the continuity of history. They are Frances Hodgson Burnett, The Secret Garden, Alison Uttley, A Traveller in Time, Lucy Boston, The Children of Green Knowe, Phllipa Pearce, Tom's Midnight Garden, and some books for children by Penelope Lively. Before considering each work, I offer a brief survey of the background against which the time travel motif in children's literature should be considered. One feature is picked out for special attention: in the transition from Victorian to Edwardian literature it may be observed that the Victorian sense of the solidity of the visible world is encroached on by a sense of the unseen, the sense of another world which exists outside time. I also point out that in some stories the 'other world' is the world of the past, a world which no longer exists but proves nonetheless to be as real as the actual world. In the discussion of the books mentioned above, my points are as follows: The Secret Garden, though it has no claim to be considered in the context of this discussion, is noteworthy, because in this story all the devices, or settings, of those stories of time fantasy written more or less with moral intent are present; the juxtaposition of two worlds so different from each other that people recognize the people from the other world as ghosts; the physical or emotional isolation of the children who are the main characters; the experience of gaining strength and maturity through meeting and developing an intimacy with people from the past; various objects which have survived from the past telling them that the past was certainly there; and finally the mother figure who has a close relation to the world of the past and who serves as a mentor and protector of the children. In A Traveller in Time and The Children of Green Knowe, picturesque and poetic images of the people of far-gone times are beautifully created, but nostalgic longing for the past (though it is an understandable impulse at the time when England was going through various kinds of transformation) is too strong in the authors so that, despite the fact that the children finally come back to the present-day world and take their place in it, our overall impression is that the children remain suspended between the two worlds with their hearts still on the shadowy figures of the other world. It must also be noted that in these books the children are not simply ghosts in the eye of the people of the 'other world'; they acquire their own identity by becoming one with somebody from that world. Tom's Midnight Garden introduces a new aspect by dealing with the nearer past, which still remains in the memory of some living people; the Victorian garden where Tom plays with Hatty is the world of Hatty's memory into which Tom is admitted. However, if Hatty and Tom meet in her dream, which is her memory, why is it that Tom, when he gets back to his own time, finds under the floor of his room a pair of Hatty's skates with Hatty's note saying she is leaving them to the boy whom she once met? Tom brings the skates back to the other world, and the two of them skate side by side, each wearing the identical shoes. This use of the two pair of skates has often been criticised as a flaw in this almost flawless masterpiece. My argument is that the pair of skates which has broken through, as it were, the wall dividing the timecontrolled and the timeless worlds might be regarded as an objective correlative of the intensity of Hatty's memory. The two pairs of skates stand for the independent identities of Hatty and Tom, ensuring Tom's firm footing in his own world while leaving him something solid by which to remember to the bliss of his midnight garden. The essay ends by making a brief survey of the books for children by Penelope Lively, who in her constant return to the theme of the past and the present is the most obvious successor of the above-mentioned children's novelists. It illustrates how such books as The Driftway, The House in Norham Gardens and A Stitch in Time embody her message that, while it is only through personal memory that we have authentic access to the past, we nonetheless must live in history accomodating all changes. The argument concludes by considering how the traditional devices established in The Secret Garden have been handed down, modified and transformed, right through to the present day novels for children.

著者

石井 翔子

出版者

東京女子大学

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.65, no.1, pp.1-44, 2014-09

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Masaoka Shiki not only preached the necessity of "innovation in tanka" in Meiji 31 (1898) but also put his ideas into practice. One of his ideas was to use gairaigo (words of foreign language origin) including kango (words of Chinese origin) in order to enrich tanka.This study examines the frequency of kango in Masaoka Shiki's Take no satouta [Collection of Tanka] and whether the kango had already been used in pre-Edo Japanese poems.Three characteristic became clear:1.Although Shiki used kango in his tanka before Meiji 30 (1897), he used them for different purposes after that. In Meiji 31, he used kango to enrich his tanka, and as a consequence there were many kango in his tanka that year.2.In Meiji 32 and 33, there were a slight tendency for the kango in his tanka to describe humans, artifacts, buildings, and human and mental activity. After Meiji 34, this tendency strengthened.It is thought that this was because Shiki believed that kango were more suitable for describing humans and artifacts than natural things.3.There were many kango in his tanka that had not been used in pre-Edo Japanese poems, which demonstrates that he was positive about using kango in his tanka and increased the range of words in Japanese poems.正岡子規は明治31年に短歌革新を主張した。その主張の一つに、歌に詠む語彙を豊富にする為の、従来の和歌世界とは異なる漢語などの外来語の使用がある。そして子規自身もそれを実践している。本稿では、子規の短歌に漢語がどのくらい見られるのか、また子規短歌の漢語(今回は「人間」「器物」「宮室」「人事」を表す漢語に限定する)が古歌(江戸時代までの和歌)で用いられているのものであるのかに注目し、子規短歌での漢語使用の実態を明らかにしたい。調査の結果、次のことが明らかになった。1、明治31年の短歌革新発表前から、子規は漢語を短歌に詠みこんでいる。しかし明治30年以前での漢語使用の実態と、明治31年での漢語使用の実態は異なっている。明治31年では、短歌に詠みこむ材料を豊富にするために漢語を使用している。その為、多様な内容を表す漢語を見ることができる。2、明治32年になると、短歌へ使用する漢語は、「人間」「器物」「宮室」「人事」といった人間や人工物を表すものを表すようになる傾向が強くなり始める。明治34年になると、その傾向が顕著なものとなる。明治31年以降、積極的に短歌に漢語を使用してゆく間に、子規は、人間や人工物を表すものの方が、自然物をあらわすものよりも、漢語で表現するのに適しているとするようになったと考えられる。3、子規が短歌に使用した漢語は、古歌では歌の中には使用されなかったものが多い。子規は短歌へ漢語を積極的に使用することにより、古歌では歌の中で表現されなかった漢語で表現する事柄を短歌の材料にしている。