著者
林 英一
出版者
獨協大学国際教養学部言語文化学科
雑誌
マテシス・ウニウェルサリス (ISSN:13452770)
巻号頁・発行日
vol.17, no.1, pp.1-41, 2015-11

The legend or the tradition of the island that sank in the sea is strongly related to "Kami" and is explained. Particularly, in "Heshima" of Kochi Prefecture and "Kanmurijima" of Kyoto Prefecture, an epiphany is connected with an island sinking in the sea. In "Heshima", an island sinks by intention of worshiped "Kami", and, at this time, "Kami" begins to flow, but appears again afterwards. In "Kanmurijima", "Kami" gets down on the place where an island sank in the sea, and it is considered to be ancestor assumed ancestor Kami of "Kaifu-shi", and the island comes to be recognized as "Tokoyo". In "Okameiso" of Tokushima Prefecture, the next world was conscious of to the trace which an island sank in the sea, and after all existence of "Kami" was conscious of. These "Kami" was taken to explain a disaster or to explain the divine nature that was tired to the disaster, not "Kami" as the faith. Therefore we can think with "Kami" as the logic.
著者
松岡 格
出版者
獨協大学国際教養学部言語文化学科
雑誌
マテシス・ウニウェルサリス (ISSN:13452770)
巻号頁・発行日
vol.16, no.2, pp.23-39, 2015-03

中国語要旨:台灣原住民與姓名、登記、族性這篇論文是本特集的理論性說明之一。主要以台灣原住民為例,探討姓名和現代國家以及可視化的強韌關聯性。理論上的主要對話對象是美國政治學者James Scott以及加拿大社會學者David Lyon。具體根據筆者最近的研究成果,再加以材料,討論姓名、個人、國家的關係以及其關係性的歷史變化。
著者
倉田 量介
出版者
獨協大学国際教養学部言語文化学科
雑誌
マテシス・ウニウェルサリス (ISSN:13452770)
巻号頁・発行日
vol.17, no.1, pp.1-27, 2015-11

Summary:This paper reconsiders a history of "Taishu Engeki (Japanese vaudeville)" commercialized at the inside of common people's daily life. From the point of view of an acquisition of a skill, I have analyzed a formation mechanism of personal art of the highest rank. The impression for an audience to an excellent performance resembles the moment of "Ichigo Ichie (one time, one meeting)." But, the skill of a body technique which brings an agreeable impression to people is included in a range of the "tacit knowledge," and therefore it matures during an extended period while piling up learning and sudden comprehension through a large number of successive rehearsals. It is proved that there is no contradiction in such a process. In a rehearsal of each troupe of "Taishu Engeki," the learning method of a personal performance called "kuchidate iteaching by talking)," a kind of "wazagengo (craft language)," has been traditionally adopted. Free acting mprovisation becomes possible by mastering details of a skill useful for a body control immediately according to any circumstances. There we can see a possibility of the popular folk culture contrasting with the mass culture.