著者

竹内 真澄

出版者

桃山学院大学

雑誌

桃山学院大学社会学論集 = ST.ANDREW'S UNIVERSITY SOCIOLOGICAL REVIEW (ISSN:02876647)

巻号頁・発行日

vol.49, no.2, pp.87-117, 2016-02-25

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「経済成長」の歴史的起源Historical Origin of `Economic Growth'竹内,真澄TAKEUCHI,Masumiキ-ワ-ド:経済成長,スペンサ-,社会成長,社会有機体,競争的個人主義Keywords : economic growth, Herbert Spencer, social growth,social organic body, competitive individualismThe concept of `Economic Growth' of modern economics was made in around 1950s. But we can trace it back to the concept `Social Growth' in Herbert Spencer. He used it in the first volume of `Principles of Sociology' at 1876. `Social growth' means the process of evolving societies in which massive population compound or recompound from hords to relatively bigger societies. He thought a society as an organism. Therefore he thought an analogy between society and organic body like plant and animal. The idea `growth' comes from the analogy. I analyze the two influencial lines in economic theories. One is the process from Spencer, thorough Carl Menger and Friedrich von Wieser, to Friedrich Hayek and Milton Friedman. Another is the process of evolutionistic philosophy given by Spencer who directly visited U. S. A. in the end of 19 th century. It seems that even W. W. Rostow accepted the evolutionistic view about national economy from American context after Spencer's visit. We can understand economists in these two lines share an idea that market is an organic body. On the one side market consists of competitive individualism. On the other side market consists of organism. These can be not in contradiction. Originaly this view of market was built by Spencer. We can conclude that the idea of social organic body originaly made in sociology have been penetrated in economic theory after WW II. until today.

著者

並川 宏彦

出版者

桃山学院大学

雑誌

桃山学院大学総合研究所紀要 (ISSN:1346048X)

巻号頁・発行日

vol.30, no.1, pp.101-131, 2004-07

著者

天堀 貴博

出版者

桃山学院大学

雑誌

桃山学院大学人間科学 (ISSN:09170227)

巻号頁・発行日

no.45, pp.303-326, 2014-03-28

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Venetian opera was born in 1637 as the first commercial opera in the world. It contributed greatly to the development of opera as a genre. In Venice, opera flourished with as many as 17 theaters at its height. Opera was an important element of the culture of this city full of feasts and celebrations. However, after the drastic reduction of ticket prices which took place in the 1670's, the quality of Venetian opera began to deteriorate. At the same time, Neapolitan opera was growing. Thus the center of Italian opera moved to Naples from Venice, and many modern scholars think that Venetian opera declined in the end of the century. For such reasons a large majority of studies on Venetian opera have treated only the 16th and 17th centuries, neglecting the 18th century. And the approaches have been made almost exclusively in the fields of music and music history, whose interests are concentrated on opera writers and their works.This paper is an attempt to reconsider Venetian opera from a different point of view, namely from that of social history, and takes into consideration the 18th century also. It makes a quantitative analysis of new opera works put on the stage in Venetian theaters for the hundred years 1660-1760 using the data given by Selfridge-Field (2007), and then examines the theaters which were active during the period. This analysis reveals that Venetian opera saw its quantitative peak in the first half of the 18th century. That means that after the "price revolution" brought about by Teatro di Sant'Angelo in 1677, opera became popularized and obtained a wider range of audience. It led to easier production of public-oriented opera with low cost. We may call it "pop opera". But such a change did not occur to Venetian opera as a whole. The traditional type of refined opera was maintained by Teatro di San Giovanni Grisostomo, which was opened in 1678 and specialized in classical and mythological themes. We may call this type "sophisticated opera." Both of these theaters were very successful and determined the two main streams of Venetian opera. Teatro di Sant'Angelo and Teatro di San Giovanni Grisostomo were the most influential in the history of Venetian theaters. One with "pop opera" and the other with "sophisticated opera", they constituted the two wheels of Venetian opera. They were cohabiting, rather than conflicting each other. In conclusion, we should not look on the changes in Venetian opera as deterioration or decline but as the establishment of a new sort of opera. We should also appreciate the coexistence of the old "sophisticated opera" and the new "pop opera", which made Venetian opera more prosperous than ever.

著者

山川 偉也

出版者

桃山学院大学

雑誌

総合研究所紀要 (ISSN:09187758)

巻号頁・発行日

vol.19, no.3, pp.35-46, 1994-03-30

著者

軽部 恵子

出版者

桃山学院大学

雑誌

英米評論 (ISSN:09170200)

巻号頁・発行日

no.24, pp.375-382, 2010-03-19

著者

芝村 篤樹

出版者

桃山学院大学

雑誌

桃山学院大学総合研究所紀要 (ISSN:1346048X)

巻号頁・発行日

vol.31, no.3, pp.37-55, 2006-03-15

著者

面地 敦

出版者

桃山学院大学

雑誌

国際文化論集 (ISSN:09170219)

巻号頁・発行日

no.41, pp.235-253, 2009-12-22

著者

野瀬 義明

出版者

桃山学院大学

雑誌

桃山学院大学経済経営論集 (ISSN:02869721)

巻号頁・発行日

vol.55, no.3, pp.153-168, 2014-02

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This article surveys the existing researches on various drives for implementations of shareholder benefit plans. Previous researches can be classified into three categories: shareholders, stock performance and other. Some methodical studies on this issue have just started. The progress of the researches is expected to shed light on the effects of the scheme.

著者

小野 良子

出版者

桃山学院大学

雑誌

英米評論 = English review (ISSN:09170200)

巻号頁・発行日

no.28, pp.5-35, 2014-03

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Introduction 1. Feminine Mystique: American women in 1950s 2. The Second Wave of Feminist Movement: American women in 1960s 3. Hollywood Shakespeare and its Artistic Limitation: Zeffirelli's Taming of the Shrew Conclusion Notes Bibliography This paper is an attempt to examine whether the feminist movements of the 1960s had a particular impact on Franco Zeffirelli's filmed production of The Taming of the Shrew in 1967. The play was first performed on Elizabethan stage and reflected gender politics of the Elizabethan age. The story portrayed the process how the shrew was instructed and molded to the ideal wife by her newly wedded husband. Shakespeare's Taming of the Shrew created the taming plot as comedy with a happy ending of the married couple. Zeffirelli's Shakespearean comedy expected an utterly different audience living in the age of women's liberation. The feminist's movement prompted re-evaluation of the existing social framework authorized by the patriarchal ideology. Zeffirelli's adaptation was a farcical comedy with an ambiguous ending, presenting both the latest feminist's reading and antifeminist backlash on screen. Zeffirelli's Taming of the Shrew was never an academic reproduction of Shakespearean work, but a Hollywood commodity that sells Shakespeare for huge commercial profits.

著者

米山 喜晟

出版者

桃山学院大学

雑誌

国際文化論集 (ISSN:09170219)

巻号頁・発行日

no.40, pp.1-66, 2009-06-10

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In the first chapter, I indicated that there are two types of the Italian Renaissance. The first type means the extraordinary outburst of the vitality of the Italian people in the late medieval era, since 13th century, which Burckhardt represented as a whole for the first time. The second type begins at about 1400, with the making of the Renaissance style and Humanism in Florence. Burckhardt's book, "The Culture of the Italian Renaissance", treats mainly with the first type, but also some of the second type. In the second chapter, I examined the relations of the two types with Florence. Florence appeared relatively late in the world of the first type, but Burckhardt gave the very impotant role of the promotor of the modernization of Europe to Florence in his book. The second type was born in Florence. In the third chapter, I asked why Burckhardt estimated Florence so high? This overestimate of Florence comes from the fact that more than 40 percents of the main authors (20 percents even with miner authors) of this time were Florentines or their descendents. In this field Florence had no rivals. An interesting statistics shows when this dominance of intellectual productivity of the Florentines and Tuscans happened. Following the statistics, in the 20 years after the defeat of Montaperti, the intellectual productivity of the Tuscans leaped up to more than 12 times (18 times if correctly counted) than the former term. The reflection of the defeat taught to the Tuscans and Florentines the importance of the informations and the knowledge of the humanities. In the fourth chapter, I noticed that the defeat can influence the nation for a long term without its consciousness. The defeat made medieval Florence negative and passive to the war. After the defeat, the Florentines shunned the outbreak of war as long as possible, and even in the fifteenth Century, Florence took the role of the peacemaker, and the promoter of the balance of power, as proved in the case of the peace treaty of 1454.

著者

孟 冬

出版者

桃山学院大学

雑誌

桃山学院大学環太平洋圏経営研究 (ISSN:13455214)

巻号頁・発行日

no.14, pp.61-83, 2013-03-27

著者

名部 圭一

出版者

桃山学院大学

雑誌

桃山学院大学社会学論集 = ST.ANDREW'S UNIVERSITY SOCIOLOGICAL REVIEW (ISSN:02876647)

巻号頁・発行日

vol.51, no.2, pp.269-280, 2018-02-28

著者

シュミット クラウディア・カロリネ

出版者

桃山学院大学

雑誌

国際文化論集 = Intercultural studies (ISSN:09170219)

巻号頁・発行日

no.47, pp.259-295, 2013-03-28

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Samurai is an important genre in Japanese entertainment media, such as books, television, and even manga. It has been a genre especially for male target groups for a long time, but during the last decade, there has been a tendency for samurai manga to focus on female target groups. In my research, I focus on the difference between the image of samurai in manga for male and female target groups, and afterwards I describe the possible social reasons for those differences. For the analysis I chose Okita Soji from Watanabe Taeko's Manga "Kaze hikaru" as an example for a samurai described for a female target group, and for a male target group, I chose Miyamoto Musashi from Inoue Takehiko's "Vagabond" as a representative samurai. I mainly follow Yomota Inuhiko's method as presented in his work "Manga genron", adding a focus on the keywords social life, love and life as swordfighter, especially analysing problems and solutions concerning these themes. Through the analysis I found some interesting answers. While the image of Okita in "Kaze hikaru" obviously is adapted to classical genres for female readers (the keywords love and social life are the main points and the story itself is similar to high-school campus stories), Miyamoto's description focuses on his work of building a strong self, especially by countless action scenes. The two represent a different ideal of masculinity, on the one side showing an Okita who is influenced by the typical effeminate male aesthetics of Japanese male pop idols-an image mainly created by aiming towards female fans. And on the other side there is a Miyamoto representing aclassical warrior image, which can be interpreted as a counter flow to the new male aesthetics. Yet, Miyamoto's warrior journeys and his life far from civilization can also be seen as criticism of young men's reaction to the growing demands of their working lives, but also in their daily lives as some kind of escapism from their daily lives. In contrast to Miyamoto, Okita shows an exaggerated image of loyalty, especially to his troops' leaders and his protegee, a girl dressed up as boy who joines his samurai troop. Especially his relationship to his protegee shows the uncertainty of young women concerning gender constructs and shows the desire of women to take part in social life or even to create history. In summary, it is obvious that the image of the samurai is fit to the gender of the target groups and it seems as if it gives the reader an entertaining possibility to compensate for the limits of everyday live.

著者

尾谷 雅比古

出版者

桃山学院大学

雑誌

桃山学院大学総合研究所紀要 (ISSN:1346048X)

巻号頁・発行日

vol.33, no.3, pp.155-183, 2008-03-18

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This paper discussed about, how the modern Japanese Government established the Protection of Mounded tomb system through enactment of the law. The Modern Protection of Mounded tomb system was divided into three stages by the law. The following results were, 1. Formation Stage (1968_1894), this period begins with Meiji Restoration to the Sino-Japanese War. The Government prescribed the Tomb of the emperor, uncertain 13th Tomb of the emperor, and focus was Tombs of the emperor and imperial family system. 2. Development Stage (1895_1904), this period begins with the Sino-Japanese War to the Russo-Japanese War. The Tombs of the emperor and imperial family system had an effect on a campaign for the Preservation of Mounded tomb by Civilian research group, was begun to carry out another way. 3. Establishment Stage (1905_1919), this period begin with Russo-Japanese War to enacted Act of Preservation of Historic site, Scenic beauty and Natural monument, 1919. The Modern Protection of Mounded tomb system determined the new line, was effected by establishment of the Modern Emperor Nation system, raised Nationalism and imperialism. The Modern protection of Mounded tomb system had two-way government, Tombs of the emperor aud imperial family system and Scenic beauty system, until the Act of Protection of cultural property was established 1950. I declared that a number of the Tomb, out of government subject, was disregarded by the Imperial Household Agency, they were paid attention to only the Tombs of the emperor aud imperial family system.

著者

飯島 伸子

出版者

桃山学院大学

雑誌

桃山学院大学社会学論集 (ISSN:02876647)

巻号頁・発行日

vol.21, no.2, pp.151-174, 1988-03-01

著者

勝部 元

出版者

桃山学院大学

雑誌

総合研究所報 (ISSN:03850811)

巻号頁・発行日

vol.8, no.1, pp.15-30, 1982-09-30

著者

沼田 健哉

出版者

桃山学院大学

雑誌

総合研究所紀要 (ISSN:09187758)

巻号頁・発行日

vol.22, no.1, pp.93-128, 1996-09-30

著者

沼田 健哉

出版者

桃山学院大学

雑誌

桃山学院大学社会学論集 (ISSN:02876647)

巻号頁・発行日

vol.20, no.1, pp.1-33, 1986-07-20

著者

天本 哲史

出版者

桃山学院大学

雑誌

桃山法学 (ISSN:13481312)

巻号頁・発行日

no.20, pp.287-327, 2013-03

著者

福井 幸男

出版者

桃山学院大学

巻号頁・発行日

2014

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2013年度