著者
寺本 益英
出版者
関西学院大学
雑誌
総研論集 (ISSN:03877728)
巻号頁・発行日
vol.16, pp.1-15, 2003-12

The aim of this paper is to trace back both to the introduction of the green tea into Japan and the birth of tea culture. How was the green tea brought to our country, Japan? There are some opinions about this question. One of them is the view that the tea was introduced by the excellent priests who studied in China in the early Heian era and that in Kamakura era the tea had a close connection with Buddhism. The priests drank tea in order to be in high spirits during their religious mortifications. The priest Eisai described in his famous book "Kissa Youjouki" about the medicinal effects and the stimulant power of the tea. Then only the privileged people could enjoy drinking tea during some five hundred years from its introduction. In Nambokucho era 'Tocha play', that is a kind of competition to guess what kind of tea the man is drinking, became popular. And the custom of drinking tea began to spread widely even among the common people. From the middle of Muromachi era to the Sengoku era, Murata Juko and Takeno Joou established the base of tea ceremony and then in Azuchi Momoyama era, Senno Rikyu came out to complete the essence of what is called the spirit of tea ceremony of Japan herself. Thus this paper describes plainly the history of tea culture by referring to thirteen pieces of historical sources.
著者
河上 繁樹
出版者
関西学院大学
雑誌
人文論究 (ISSN:02866773)
巻号頁・発行日
vol.52, no.3, pp.1-14, 2002-12-10
著者
小林 昭博
出版者
関西学院大学
雑誌
神學研究 (ISSN:05598478)
巻号頁・発行日
vol.54, pp.15-29, 2007-03

この論文は、この社会が、そしてキリスト教が、現在同性愛者たちから問われている同性愛者差別の問題にたいする応答を意図して書いたものである。新約聖書学の論文のおよそ半分弱をこの課題に関する記述に費やしていることに批判を持たれる読者もいるかもしれない。しかし、新約聖書学に携わる者として、またささやかながら同性愛者差別問題に取り組んできた者として、この社会が、そしてキリスト教が抱えつづけている同性愛者差別の問題に真剣に応答するには、現在問われている課題に向き合いつつ、新約聖書テクストに取り組むことが最適だと思い、敢えてこのような論述にしたことを予めお断りしておく。
著者
北村 昌幸
出版者
関西学院大学
雑誌
人文論究 (ISSN:02866773)
巻号頁・発行日
vol.55, no.4, pp.1-17, 2006-02-10
著者
谷村 要
出版者
関西学院大学
雑誌
関西学院大学社会学部紀要 (ISSN:04529456)
巻号頁・発行日
vol.104, pp.139-152, 2008-03

In this paper the phenomenon "MATSURI" (i.e. "Festival" in Japanese language and culture) which is often generated on the Internet of Japan is described. "MATSURI" is a concept and behavioral practice which refers to and points out the situation where people involve themselves and connect with each other through the Internet electronic board. In "MATSURI" people who havge connected using the electronic bulletin board reinterpret cyber space as real space. This phenomenon, also known as a "fad", has frequently occurred on the internet in Japan since 2001. However, it seems that the structure of the activ ity and involvement is being transformed. This transformation began with the new internet service known as "Web 2.0." In this paper, I described "Yoshinoya MATSURI" where participatory observation was dance (Ito 2005), and "'Hare Hare Yukai' dance MATSURI" where I effected participatory observation unlizing a concept diagram, and I compare the two "MATSURI" processes. In addition, I consider the transformation of MATSURI in Japan. I conclude contiuatyion of mediated communications of MATSURI.

19 2 1 0 OA 応永の外寇異聞

著者
西山 克
出版者
関西学院大学
雑誌
関西学院史学 (ISSN:04511263)
巻号頁・発行日
vol.31, pp.16-37, 2004-03-20
著者
堀 郁
出版者
関西学院大学
雑誌
総合政策研究 (ISSN:1341996X)
巻号頁・発行日
vol.28, pp.99-107, 2008-03

Japanese view on nature is closely related to the forests in Japan. Without a doubt Japanese mentality and religions (above all, Shinto and Buddhism) are influenced by the forest. Many thinkers, for example Takeshi UMEHARA and Yoshinori YASUDA, have already pointed out this relationship. It is essential for todays environmental ethics to overcome the Cartesian view. Therefore a new idea of nature is in need, which is meant to show a way, how humans and nature can coexist. Looking at Japanese view on nature, is it possible to find an answer to the question of how this coexistence can be accomplished in harmony? Hayao MIYAZAKI's masterpiece "Princess Mononoke" questions the optimistic opinion about the coexistence supposed to be offered by the Japanese attitude. The movie deals with a tragic conflict between human beings and nature, in which neither hero nor villain appears and where no line can be drawn between god and evil. By that Miyazaki suggests the destiny of every living being: One lives at the cost of the other. Such violence is as inherent in nature as in human beings. Unfortunately in Japan this subject has not often been pointed out yet. By a philosophical interpretation of the movie this article examines the problems of the Japanese view on nature.
著者
難波 功士
出版者
関西学院大学
雑誌
関西学院大学社会学部紀要 (ISSN:04529456)
巻号頁・発行日
vol.101, pp.161-168, 2006-10

The term 'subculture' has been used with many different meanings. Especially in Japanese, the loan word 'sabukaru (tya)' has been used in various ways. It has ordinarily referred to works, such as popular music, comics, animation films, programmes or magazines for the youth, video-games, and the latest fashions. Using Raymond William's definition that culture is a whole way of life, subcultures means a subset of practices in each society. From the point of view what culture was supposed to be against the term 'sub-' culture, I try to classify the uses of subculture into four groups. 1) Subculture as an antonym of high culture, i.e. subculture as low culture. 2) Subculture as an antonym of total culture, i.e. subculture as partial culture. 3) Subculture as an antonym of main or dominant culture, i.e. subculture as alternative or counter culture. 4) Subculture as an antonym of conventional culture. I have chosen the last definition. I think when a certain subculture emerges, conventional culture, which is opposed to the subculture, makes its appearance a posteriori. Not until a certain subculture emerges and it reflects an aspect of our social conventions, are we aware of some "taken-for-granted-ness" which all of us hold in our everyday life. And furthermore, now we are living in a world where we cannot easily assume a definite high, total, or main culture. Therefore, we should not reify any high, total, or main culture a priori.
著者
山田 敏恭
出版者
関西学院大学
雑誌
人文論究 (ISSN:02866773)
巻号頁・発行日
vol.58, no.1, pp.43-59, 2008-05-20
著者
山中 茂樹 北原 糸子 田並 尚恵 森 康俊
出版者
関西学院大学
雑誌
基盤研究(B)
巻号頁・発行日
2010 (Released:2010-08-23)

本研究は、今後30年以内に発生するだろうといわれる首都直下地震において発生する膨大な避難者たちの行動を予測するとともに、その対応策を考えるのが目的であった。ところが、2011年3月11日、東日本大震災が発生。加えて東京電力福島第1原発の事故で福島県民を中心に多くの強制避難・自主避難が生じた。そこで、同時進行している事象の実態把握と解析も進めた。3年間の成果として、住民票を移さずに避難した人達の在留登録制度の新設や避難元自治体と避難先自治体が避難住民の名簿を共有する避難者台帳の整備、広域避難者の支援に充てるファンドの創設など多くの政策・制度を提案した。
著者
難波 功士
出版者
関西学院大学
雑誌
関西学院大学社会学部紀要 (ISSN:04529456)
巻号頁・発行日
vol.99, pp.131-153, 2005-11-08

In 1983, a writer called young people 'otaku' (later, he used the word 'otaku-zoku'). They were absorbed in animation, manga, idols, personal computers, sci-fi, and so on. They and their companions called each other 'otaku' as well. They were only interested in others' knowledge about their common hobbies. Their communication style was mutually one-way and their life-style was like a hermit because of their commitment to favorite objects or subject matter. In 1989, one of them, a young man named 'Tsutomu Miyazaki', committed serial murders of little girls. So, otaku-zoku caused moral panic in Japanese society and they were labeled as sexual perverts. At first, there were many female-otaku. However, after the murder case, otaku (-zoku) began to mean young men who were withdrawn in their room, absorbed in various media, uninteresting in their appearance, and disconnected with other people, especially adult women. The word 'otaku' had negative image. But, in the 1990s, the sales of some subject matter which had been loved by otaku (-zoku) began to increase exponentially all over the world. Such otaku-related business became the most promising industry in Japan. So the implication of otaku changed. In the first half of the 1990s, a genre of music called 'Shibuya-kei' was born. In those days, in the Shibuya area, several mega record stores were launched, and many imported record stores, clubs, offices of independent record labels and editorial rooms of free papers or magazines about music began to be concentrated there. One of the mega record stores set up a corner of 'Shibuya-kei' CDs. By definition, Shibuya-kei means a type of music which was popular in Shibuya. Shibuya-kei musicians went to the Shibuya area to collect records, to play as DJs, or to spend time with companions at clubs. They composed music extracting elements from old and rare music sources and newly arranging them at will. In a sense, they can be called 'Ongaku-otakus (music freaks)'. Those musicians were also leaders of fashion, visual culture, and life style taste for their adoring fans, who usually dressed in French casuals. At the same time, otaku began to be called 'Akiba-kei', named after the Akihabara area, where many shops for otaku people, e.g. personal computer, video game, fanzine, female figures, and animation video, could be found. Akiba-kei (a.k.a otaku-zoku or otakukei) and Shibuya-kei had some common characteristics. They had media-oriented lifestyles, relatively wealthy backgrounds, and uni-sex feelings. These points suggest that the focus of youth subcultures from the 1980s to the 1990s was gradually centered on the media and the taste for them.
著者
北村 次一
出版者
関西学院大学
雑誌
經濟學論究 (ISSN:02868032)
巻号頁・発行日
vol.22, no.1, pp.57-86, 1968-04-25
著者
黒田 展之
出版者
関西学院大学
雑誌
法と政治 (ISSN:02880709)
巻号頁・発行日
vol.53, no.2, pp.339-387, 2002-06