著者

松本 和也 マツモト カツヤ

出版者

神奈川大学人文学会

雑誌

人文研究 = Studies in humanities (ISSN:02877074)

巻号頁・発行日

no.201, pp.1-42, 2020-09-25

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The aim of this paper is to examine the stage version of The Curtain Rises from multiple perspectives such as plays and performances. In particular, I focused on Oriza Hirata, who was involved in writing the script. In Chapter 1, I introduce his work and organize the comments of the people involved in the workshop that took place prior to the movie and the stage play. In Chapter 2, I examine how the transition from novel to film, and from film to theater, was based on the mixed media of The Curtain Rises. In Chapter 3, I discuss the story, pointing out theatrical features based on particular scenes, and highlight the theme of the growth of the characters. Finally, in Chapter 4, I focus on the episode dealing with the Great East Japan Earthquake and the characters of Nakanishi, which were added in the stage version of The Curtain Rises, and consider its effects on the entire play.

著者

兒島 峰 Kojima Mine

出版者

神奈川大学人文学会

雑誌

人文研究 (ISSN:02877074)

巻号頁・発行日

no.178, pp.81-129, 2012

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This paper analyzes how movies can showcase experiences during historical moments and evoke the consciousness of people throughfeature films such as "Even the Rain" (Icíar Bollaín, 2010), inspired by the "Water War" that broke out in Cochabamba, Bolivia in 2000. First, I elaborate on the film's story and indicate the different reception it received in Spain, where the film was made, and Bolivia,where it was shot. It was well received in Spain because it depicted the parallelism in history between the Conquest era and present day,and the resistance of a united people against oppression. In contrast,in Bolivia, it was received with a polemic because it was considered to be plagiarized from the Bolivian film "To Hear the Birds Singing"(Jorge Sanjinés, 1995)and accused of having a colonial view of the film.Second, to clarify the bases of such contrasting critiques, I attempt to examine the historical and social visions of both societies, one suzerain and the other colonized. Third, I explain the historical process, politicoeconomic background, and the impact of ochabamba's "Water War" on Bolivian and international societies, and clarify how this crucial historical subject is reconstructed and what message is conveyed through the film. Finally, I suggest how we can learn the history and facts through the films.

著者

太田 強正 オオタ ツヨマサ

出版者

神奈川大学人文学会

雑誌

人文研究 = Studies in humanities (ISSN:02877074)

巻号頁・発行日

no.144, pp.77-150, 2001-12-01

著者

小馬 徹

出版者

神奈川大学人文学会

雑誌

人文研究 (ISSN:02877074)

巻号頁・発行日

no.204, pp.63-109, 2021

著者

王 宝平

出版者

神奈川大学人文学会

雑誌

人文研究 (ISSN:02877074)

巻号頁・発行日

no.203, pp.75-97, 2021

著者

小馬 徹 コンマ トオル

出版者

神奈川大学人文学会

雑誌

人文研究 = Studies in humanities (ISSN:02877074)

巻号頁・発行日

no.207, pp.21-95, 2022-12-26

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The present paper is a sequel of this particular author’s former papers titled, ① ‶A mythical monster, Shii promoted the Shibues, top masters of Kappa, the most popular water monster in Japan" (Komma2021a), and ② ‶Rampant emergence of a mythical monster, Shii and the concealed outbreaks of rinderpest ―Ethno-history of massive fatalities of cattle and horses during the early-modern times in Japan" (Komma2022). In the 1st paper concerned, the author clarifi ed the historical process of the formation of the notion, Shii. Several Chinese books had been imported into Japan refer to Shii saying that it can miraculously steal into anybody’s chamber at amy time at will without being noticed, that it often harms anybody’s eyes, face, and limbs, and that it may kill the victims at times. Though those Chinese books never include cattle (nor horses)among Shii’s victims, when the natives of the Nagato and the Suou domains in Westernmost Honshu had been suff ering from massive fatalities of their own cattle in the early 17th century, they named Shii as the incident’s supernatural cause. After several decades, a Shinto priest living in the Suou domain who happened to be at a village in the Chikuzen domain in Northern Kyuhshu, witnessed quite a similar incident to theirs then and there. So he, with the confi dence, eagerly recommended the villagers to fi nd and kill racoon-dog-like creatures. Somehow they successfully hunted some heads, after which peace returned. Some other villages there followed suit and were successful in stopping the mysterious cattle killings, too. Hence Shii leaped into imfamy in nearby villages. An exclusively famous Confusian in the Chikuzen domain at that time, KAIBARA Ekiken wrote the incident vividly in his books titled Chikuzennokuni-nochinohudoki and Yamato-honzo respectively. Hence the high notoriety of Shii in the western half of Honshu and all of Shikoku and Kyushu. ① may be summarized as this. In the second paper ② , the author compares ① with Dr. KISHI Hiroshi’s papers. Kishi is a veterinarian, who identifi ed rinderpest as the aetiological cause of the massive fatalities of native cattle in his homeland,the Nagato and the Suou domains at that time, by referring to many archives well satisfying his fi ve conditions, i.e.(a) only cattle,(b)who are infected with some virus,(c) and died,(d) rapidly,(e) and alsomassively. He is the very fi rst and last person that substantiated the outbreaks of rinderpest during the early-modern times in Japan. His papers assisted the author indeed in that now we can safely say that the myth of Shii in Japan originated mainly due to the two great rinderpest outbreaks. Then, the last question is why did the sudden rise of the very notion of Shii in Western Japan as a whole occur just in the period of massive deth toll during the Kyohou great famine in 1732 which did not fulfi ll Dr. Kishi’s 5 conditions mentioned above, for not only cattle but also horses died in a great number. In ② , the author insists as follows. Through the extremely miserable experiences during the two great outbreaks of rinderpest in the early-and-mid 17th century, the native peasants realized that horses can substitute their dead cattle as ploughing animals. So, they did dreadfully fear the Kyohou great famine, during which their horses died together with their cattle, leaving no ploughing power, other than human beings themselves, behind at all. For the present author, the plenty of historical documents he cited as the hard evidence to corroborate the two great outbreaks of rinderpest, are heuristic and thought-provoking by far beyond expectation. The present paper’s author, encountered a thin document full of apparent miscopies in transcription, titled Kanbun-zakki meanig miscellaneous notes during the Kanbun era. After a careful study of the docu ment, a crucial evidence for the unexpected paradigm shift from Kappa to Shii as the aetiological cause of massive fatalities of cattle and horses loomed large out of historic mist. An offi cial circular of a tentative aetiology of the massive fatalities by Shogunate government offi cials was sent to each feudal lord in Western Japan during the second great outbreak of rinderpest in the mid-Kanbun era. The quite an old-fashioned circular, to which a transcription of the Shibues’ famous charm to avert Kappa’s evil attached, read as follows: the government recommends to press the charm to the head of each one of cattle, for the practice has turnd out very effi cacious to prevent the animal from dying in the Higo domain. Higo is the Shibues’ homeland. This is astounding fact, for, according to the standard academic evaluation, they at that time have been taken as persons of somewhat low social standing, up to now. The government’s pronouncement should have changed the attitudes of the common people toward them, especially in the Higo domain,avobe all. When the Kyohou great famine started, the above-mentioned paradigm shift from Kappa to Shii took place, for Higoites had been infl uenced by the aetiology in the Chikugo domain which was located in close vicinity to the Higo domain in the south. Chikugoites were known for having originated another diff erent concept of Shii independent from that of the Nagato and the Suou domains. According to it, Shii harms horses only, but not cattle, which is more profi table to the lesson gotten after the two great rinderpest outbreaks. So, it seems that the residents in the Higo domain successfully persuaded now prestigeful the Sibues to accept the Chikugo-like concept. All in all, the Shibues seem to come to be known as top masters of uprising Shii, other than those of Kappa. As a result, Kappa seems to have constantly reduced group consciousness day by day.

著者

伊坂 青司 イサカ セイシ

出版者

神奈川大学人文学会

雑誌

人文研究 = Studies in humanities (ISSN:02877074)

巻号頁・発行日

no.204, pp.111-152, 2021-12-25

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Japanese mythology in the text of "Kojiki" contains Himuka Myth after Izumo Myth. Himuka is the birthplace of Amaterasu (goddess of sun) and further the descending place of Amaterasuʼs grandson, Ninigi. Hence, Himuka became the holy place for the imperial family. Ninigi married the daughter of the mountain god and Ninigiʼs descendants married daughters of the sea god. Therefore, the imperial family obtained the natural force of the mountain and the sea by blood relations. The first Emperor Jinmu migrated from Himuka toward the east and conquered the area of Yamato with several influential clans. Emperor Jinmu married the daughter of Miwayamaʼs god Omononushi. The regal power of Yamato was originally realized by the unity between Emperor Jinmu and Miwa clan. Therefore, the imperial family did not consist of a singular descendant line, but comprised of plural blood relations. Thus, it can be said that the Japanese myth is composed of plural genealogies. State Shinto controlled Japanese people by the totalitarianized Emperor system from Meiji era to World War Ⅱ. Shintoism distorted the Japanese myth as a singular unbroken line of Emperor and concealed plural blood relations in the imperial family. However, Shintoism must be refuted by the plural structure of the Japanese myth "Kojiki."

著者

伊坂 青司 イサカ セイジ

出版者

神奈川大学人文学会

雑誌

人文研究 = Studies in humanities (ISSN:02877074)

巻号頁・発行日

no.203, pp.1-35, 2021-09-30

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The myth of a nation is engraved by plural tribal myths. The Japanese myth found in "Kojiki" is constructed not only by a singular myth of the Imperial Family but also by a composition of plural tribal myths. Therefore, we can characterize the Japanese myth as having a plural structure. Furthermore, this theory is proven in Japanese ancient history and archaeology. Before World War II, the Japanese myth was exploited by national totalitarianism, which insisted on a singular unbroken line of Japanese emperors. However, the Japanese myth was originally constructed not only by the heavenly world (Takamanohara) but also by the terrestrial world(Ashihara no Nakatsukuni), which contains two main regions, Izumo and Himuka. In "Kojiki" the gods of Izumo(Susanoo and Okuninushi) precedes the grandsons of the sun goddess (Amaterasu) in Himuka. Izumo Myth expresses the mighty domination of the Izumo-tribe that existed before the line of Japanese emperors in Yamato. To this end, I aim to understand the Japanese myth in "Kojiki" as a plural structure of both Izumo Myth and Himuka Myth.

著者

山口 建治

出版者

神奈川大学人文学会

雑誌

人文研究 (ISSN:02877074)

巻号頁・発行日

no.190, pp.193-202, 2016

著者

深沢 徹 Fukazawa Toru

出版者

神奈川大学人文学会

雑誌

人文研究 : 神奈川大学人文学会誌

巻号頁・発行日

vol.179, pp.21-45, 2013-03-25

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Gubijinso by Soseki Natsume was his first serial story to be printed in a newspaper. The critics have disagreed on the merits of this novel. The author Soseki himself wanted it to remain out of print. He did notpermit anybody to write its dramatic version for the theater or the cinema. After the Second World War, Jyun Eto, a literary critic, played an important role in reevaluating Soseki. He rated Gubijinso highly, regarding it as the starting point of Soseki's later works. The novelist Minae Mizumura loved Soseki's works so much that she even wrote the sequel of Meian, Soseki's unfinished last work, copying his writing style impeccably. Mizumura, however, got "the impression that there was something seriously wrong" with Gubijinso. What makes the critics'assessments of Gubijinso so extremely divided? In this article, we should find the answer in the influence of Bakin Takizawa, a popular novelist of the Edo period. His influence on the novel caused contortion(or distortion?)in it, which was unsuitable for a "modern novel," even though his influence was limited. In order to provide a better understanding of the development of the argument, I would use the "Shitsukeito(Basting Thread)" theory proposed by a scholar of Japanese literature, the late Kuniaki Mitani. He led the Japanese literary studies after the 1980s, positively introducing semiotic research methods.

著者

SON Ansuk

出版者

神奈川大学人文学会

雑誌

人文研究 (ISSN:02877074)

巻号頁・発行日

no.203, pp.217-227, 2021

著者

中林 広一

出版者

神奈川大学人文学会

雑誌

人文研究 (ISSN:02877074)

巻号頁・発行日

no.190, pp.1-27, 2016

著者

熊谷 謙介 Kumagai Kensuke

出版者

神奈川大学人文学会

雑誌

人文研究 (ISSN:02877074)

巻号頁・発行日

no.178, pp.1-29, 2012

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This paper focuses on the question of "chance" in Mallarmé's Un coup de dés, in relation to the figures of the woman(siren)and man (Hamlet)who appears in the second half of this poem. Quentin Meillassoux's The Number and the Siren: A Decipherment of Mallarmé's Coup de dés(2011)shows that the ambiguous relation of chance and necessity in this poem titled A Throw of the Dice Will Never Abolish Chance, is not contained in a Master's choice: whether to throw a pair of dice or not, but in the count of this poem's words (707). I argue against this view that the choice of throwing dice or not, the central question of Igitur, remains in Un coup de dés, and that "the unique Number that cannot be another" is 12, the number of the two dices of Igitur and of alexandrine syllables, or rather the visual principle of verses applied to both traditional poetic forms and a radical type such as Un coup de dés. The difference between Igitur and Un coup de dés lies in the fact that the hero Igitur got lost in this alternative logic in an attempt to fulfill in vain the destiny of his ancestors, but Un coup de dés has two heroes, namely the Master and his child("childlike shade")who tries to answer the question of chance in a different way from his father and Igitur : to combine chance with infinity. It is true that Meillassoux's iscussion poses the question of infinityin relation to siren, but it doesn't examine closely the opposition of thefemale figure("siren")with the male figure("bitter prince of reef")in view of gender and literary texts : Ophelia and Hamlet, mobility and immobility, fluidity and solidity, horizontality and verticality, curved lineand straight line. Therefore, the child of the Master is composed of these two characters who contradict but complete each other to challenge the question of chance. After the tradition of "romantic" interpretation of Un Coup de dés, according to which the human being tries to abolish chance between abyss and sky even if in a fictional manner, it is time to reflect on the multiple signification of this poem as a chimera-siren, in relation to its formal features and Mallarmé's poetics.

著者

鳥越 輝昭 Torigoe J. I. Teruaki

出版者

神奈川大学人文学会

雑誌

人文研究 (ISSN:02877074)

巻号頁・発行日

no.176, pp.1-29, 2012

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I have focused on a representation of Venice as a city of death and attempted to show the reasons why this remarkable image emerged. The lagoon extending from the northern edge of Venice is called "laguna morta"(=dead lagoon), in which there is a cemetery island called San Michele, and there can also be found a haunted house named "Casa degli Spiriti" on the northern edge of the city. The zone formed by the "dead" lagoon, the cemetery island, and the northern edge of the city presents an image of a death zone. Interestingly, however, the same zone had been regarded not as a deathly place but rather one of cheerfulness until the end of the eighteenth century. The direct cause for engendering this association of death was the fact that the island of San Michele was changed from a monastic island into a cemetery island at the beginning of the nineteenth century. There were, however, other important causes. The Republic of Venice collapsed in 1797, followed by a long period of political and economic decline. Metaphorically speaking, Venice itself died. The city, lying on the lagoon, also seemed to be soon engulfed by water. Thus it seemed to be in danger of physical death, too. A similar sudden change is noticeable regarding the image of coffins in association with Venetian gondolas. Gondolas were likened to coffins probably for the first time by Goethe just before the extinction of the Republic of Venice, which was already in a state of decline both politically and economically. After Goethe, Venetian gondolas were represented repeatedly as coffins. Interestingly, however, gondolas had been regarded as either beautiful grand vehicles or joyous boats before Goethe. Therefore, the association of gondolas with coffins came not from their physical appearance but from the political, economic, and physical decline of the city.

著者

宋 莉华 Song Lihua

出版者

神奈川大学人文学会

雑誌

人文研究 (ISSN:02877074)

巻号頁・発行日

no.179, pp.1-11,巻末1p, 2013

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In 1880, a religious novel titled The Terrible Red Dwarf was published in the U.K. Only 2 years later, this book was translated into Chinese by an Griffith John(1831─1912), a famous missionarg from London Missionary Society, and it was published by Religions Tract Society in Hankou with the title of 'Koushujuden(紅侏儒伝)'. Not only that, the contents of the same book had been published twice in 'Wan guo Gongbao' which is famous as a magazine that introduced international laws in Europe and U.S. in the end of Qing era. Therefore, by using this translated novel 'Koushujuden(紅侏儒伝)' as a material, I will conduct study regarding how metaphorical expressions are used and religious allegorical meanings are given in the novel, and what intentions of the author and translator are, in this paper. 'Koushujuden(紅侏儒伝)' includes an allegorical story in which a naughty dwarf(a little devil)who commits harmful acts destroys people's daily life but finally the devil is eliminated by people studying'the Bible' as well as quite a lot of illustrations(iconography)showing people's daily life in which people are struggling with little devils. These illustrations are used for persons who are not able to read letters. This implies that this book was published in order to enlighten people. Furthermore, many allegorical stories from 'the Bible' are cited in this book, which implies that it had been greatly influenced by 'the Bible'. 'Koushujuden(紅侏儒伝)', which had been translated and published in Hankou located in the interior of China during the end of Qing era, can be counted as one of the representative works that indicate how the Christian literature had come down from Europe and U.S. to China.1880 年、イギリスでThe Terrible Red Dwarf(Mark Guy Perse, 1842─1930)という表題の宗教小説が刊行された。ところが、この本は刊行後のわずか二年後にはイギリス宣教師Griff John(1831─1912)の手によって中国語に翻訳され、『紅侏儒伝』という表題で漢口・聖教書局にて出版された。それだけではなく、同書の内容は、清末中国において欧米の国際法を紹介した雑誌として有名な『万国公報』にも二回にわたり掲載されている。そこで、本稿はこの翻訳小説『紅侏儒伝』を素材に、小説にあらわれた隠喩的表現の運用と宗教的寓意は如何なるものであったのか、また、作者の意図と翻訳者の意図はどのようなものであったのかについて検討を加えたい。 『紅侏儒伝』は悪事を働くいたずら子(小悪魔)が人々の生活を破壊するが、最後は『聖書』を勉強することで退治することができたという寓話が挿入されている他、挿絵(図像)を用いて、小悪魔と苦闘する人々の生活を描いている場面も少なくない。これらの挿絵の図版の利用は文字が読めない子供を対象にしたものであり、この本の刊行の意図するところが人々の啓蒙にあったことが読み取れる。また、同書には『聖書』のなかに登場する寓話を多く引用していることからも、『聖書』から大きな影響を受けていたことがわかる。清末の中国内陸部の漢口で翻訳出版された『紅侏儒伝』は、欧米のキリスト教文学が中国に伝来する過程を示す典型的な作品の一つとして数えることができる。

著者

松本 和也 マツモト カツヤ

出版者

神奈川大学人文学会

雑誌

人文研究 = Studies in humanities (ISSN:02877074)

巻号頁・発行日

no.206, pp.1-35, 2022-09-30

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This paper focuses on Hatakazu Kayano (Torahiko Koori), who has been positioned as a minor poet in the history of Japanese literature. At the end of the Meiji Era, the theater was taking a new turn, and Hatakazu Kayano was an active playwright during this period. In this paper, I revisit the plays written by Hatakazu Kayano from the perspective of his contemporaries, focusing on plays published in Mita Bungaku and Subaru. The paper is organized as follows. Chapter I presents the gaps in our knowledge and other problems based on a review of previous studies. Chapter 2 analyzes the evaluation of the works Kayano published before he began writing plays. Chapters 3 and 4 discuss how the plays Kayano wrote were evaluated. With these plays, Hatakazu Kayano had come to be regarded as the standard-bearer of the Neo-Romantic movement by 1907. For Chapter 5, I survey and analyze the criticism of Dojoji and discuss its possibilities and limitations, and then summarize this paper.

著者

松本 和也 マツモト カツヤ

出版者

神奈川大学人文学会

雑誌

人文研究 = Studies in humanities (ISSN:02877074)

巻号頁・発行日

no.204, pp.1-33, 2021-12-25

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In this paper, I have attempted to research and analyze the discourse of cultural propaganda during the Pacific War. As there is little previous research on these discourses, I worked on unearthing wartime material. In Chapter Two, I analyzed the discourse on Southern cultural propaganda. As a case study for further analysis, I specifically focused on discourse on the Dutch East Indies before the start of the Pacific War. From the aforementioned examination, I have precipitated the basic structure of cultural propaganda discourse. In Chapter Three, I analyzed the discourse around cultural work starting from after the beginning of the Pacific War and paying particular attention to the keywords of ethnic groups. In the discussion of this section, I followed the trends that this discourse on cultural propaganda will reflect in the ideology of the Pacific War. Finally, I analyzed the discourse surrounding the relationship between literary figures and cultural propaganda at that time. In conclusion, I pointed out that through these discourses, literary figures have contributed to uplifting the war and gained sociality.

著者

王 宝平

出版者

神奈川大学人文学会

雑誌

人文研究 (ISSN:02877074)

巻号頁・発行日

no.203, pp.75-97, 2021

著者

深澤 徹 フカザワ トオル

出版者

神奈川大学人文学会

雑誌

人文研究 = Studies in humanities (ISSN:02877074)

巻号頁・発行日

no.204, pp.35-62, 2021-12-25

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This paper is an "introduction" to a series of five or six articles that I plan to write from now on, in which the purpose is to clarify the "identification of problems" from an overall prospective. Consequently, I would like to mention in advance that it is a special sentence that has been written in an introductory style. In the series of articles to follow, I plan to cover specific literary texts on the theme of building oneʼs own "house" in the spatial expanse of the ancient city of Heian-kyo. To establish a methodological framework, this study first examine the contents of Martin Heideggerʼs "Building, Inhabiting, and Thinking." In "Building, Inhabiting, and Thinking", Heidegger discusses (with an emphasis on "inhabit") the state of the bodies (existence) of those who live in this world and constantly live a fleeting life alongside a shadow of death. This study traces the relationship between our "body"― which we tend to forget in the information society that spreads as a virtual space ― and the spread of rooms, houses, streets, and cities as containers for our "body," along with the relationship with this world as a whole in some cases. To begin with, the significance of the university as an institution of higher education today and the "body" that act as reflected in the dialogue of Shakespeareʼs plays are examined. In response to that flow, I discuss the thought of "emptiness" found in Mahayana Buddhist scriptures and the cases of the "Tale of Genji" and the sutra of "Oguri" over the "body" as a container for the soul.本論考は、五回もしくは六回にわたり連載を予定している一連の文章の「序章」に当たるもので、これから連載を進めていく上での「問題の所在」を、全体的な見通しの下、明らかにすることを目的に書かれている。したがって、導入的な書き方に終始した、特殊な文章となっていることを、あらかじめお断りしておく。 今後に続く連載においては、古代都市平安京の空間的なひろがりの中で、自分の「家」を建てることを主題とした具体的な文学テキストを、順次あつかう予定でいる。その際の方法的な枠組みを、あらかじめ設定するため、本論考においては、マルティン・ハイデッガーの『建てること、住むこと、考えること』の文章の内容を、まずはその検討対象としている。 『建てること、住むこと、考えること』においてハイデッガーは、この世界の内に身を置いて、死の影に絶えず付きまとわれながら、つかのまの人生を送る私たちの「からだ(=実存)」のありようを、「住まう」ことに焦点を当てて考えている。その問題意識を踏まえつつ、バーチャルな仮想空間としてひろがる情報社会にあって忘れられがちな私たちの「からだ」と、その「からだ」を収納する容れ物としての居室や家屋、街路や都市のひろがり、さらにいえばこの世界全体との関係を、本論考では、いくつかの事例を通して跡づける。 まずは、高等教育機関としての大学の今日的な存在意義について、さらにはシェークスピア劇の台詞に見える、演技する「からだ」について検討する。その流れを受け、大乗仏典に見える「空」の思想や、たましいの容れ物としての「からだ」をめぐる『源氏物語』や説経『おぐり』の事例にも言及する。

著者

中林 広一

出版者

神奈川大学人文学会

雑誌

人文研究 (ISSN:02877074)

巻号頁・発行日

no.200, pp.103,105-138, 2020