著者
田中 和子
出版者
学術雑誌目次速報データベース由来
雑誌
人文地理 (ISSN:00187216)
巻号頁・発行日
vol.48, no.4, pp.321-340, 1996
被引用文献数
2

Friedrich Ratzel wrote several papers (1878, 1879, 1895b, and 1895c) and book reviews (1881, 1887, 1894, 1895a, and 1897) relating to Japan, and during 1889-1902 at Reipzig University, he gave four lectures on the world outside Europe, including Japan (Fig. 1.). His notes (manuscripts and materials) for those lectures, which are listed in Tab. 1. A and B, have been preserved in the Archives of Geography, Institute of Regional Studies (Geographische Zentralbibliothek/Archiv f&uuml;r Geographie, Instit&uuml;t f&uuml;r L&auml;nderkunde), Leipzig.<br>The examination of his writings revealed Ratzel's discourse on Japan, which has never been investigated by geographers, in connection with his extensive geographical work. This paper makes it clear that:<br>A) Ratzel was interested in Japan and maintained study and a material collection throughout his academic career (Tab. 2).<br>B) At the watershed of 1895 when Japan won the Sino-Japanese War, his negative evaluation of Japan turned to a positive one. Parallel with this change, his research-focus in Japan itself was transferred, that is, his ethnographical and anthropological study shifted to the political geography of Japan as an island empire.<br>C) In his writings before 1895, he pointed out that 1) the physical and mental features of the residents of the Japanese Islands were inferior to those of Europeans, 2)the strange social class system, which, essentially, the Meiji Restoration did not alter at all, and 3) the mysterious pluralistic jurisdiction among East Asian countries, which could easily cause a political dispute. Ratzel's sense of values with reference to European culture and his contempt for an uncivilized race in East Asia were obvious.<br>D) With Japan's defeat of China, Ratzel realized the characteristics of a land of islands and a marine nation, which were common to England. After revisions and rearrangement (Tab. 3.), his discussion of the political geography of islands (1895c) was publishedas the chapter of &lsquo;Islands (Inseln)&rsquo; in &ldquo;<i>Politische Geographie</i>&rdquo; (1897). Ratzel expected that Japan would follow the achievements of England in the near future. The most important reason why he changed his evaluation was that Japanese could master Western culture, technology, and social and political systems within a short term.<br>E) According to Ratzel, because the Japanese were a marine nation with high learning-ability and followed Europe, they succeeded in the reexpansion of marine transport over the ocean, and exceeded thier neighbors China and Korea-China used to be accompanied by Japan and Korea respectively, in culture as well as politics.<br>F) Ratzel's continuing study of Japan could be a synthetic chorography, which describes and explains a peculiar combination between a land of islands in the Pacific Ocean and a marine nation with high learning-ability. The possiblity that he preparedthe publication of &ldquo;<i>Japan</i>&rdquo; can not be denied.
著者
小林 勇
出版者
神戸親和女子大学国語国文学会
雑誌
親和國文 (ISSN:02879352)
巻号頁・発行日
vol.30, pp.50-65, 1995-12-01
著者
松平 進
出版者
甲南女子大学
雑誌
甲南女子大学研究紀要 (ISSN:03864405)
巻号頁・発行日
no.1995, pp.492-466, 1995-03-05
著者
松平 進
出版者
国文学研究資料館
雑誌
国際日本文学研究集会会議録 = PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:03877280)
巻号頁・発行日
no.19, pp.171-182, 1996-10-01

Kamigata actor print seem to have been produced with a strong connection to hiiki-theatre supporters or fans. Three cities (Osaka, Kyoto and Edo) had many fans and fan clubs, but especially Osaka fans were very active. Among them, Teuchi renchū (clapping clubs) were top groups. Every winter, in kaomise performance (face showing performance), these clubs performed a ceremony of clapping to introduce actors to the public.One can see hiiki together with actor in Osaka theatre prints. For example, Seki Sanjūrō II came to Osaka, Kado theatre in 1826 from Edo. The artist Ashiyuki produced Sanjūrō's greeting from stage surrounded by many Sakura-ren hiiki in Sakura-ren uniforms. The space of the print is dominated not by Sanjūrō but by hiiki. I wonder if this kind of print could sell well as an actor print ?Not only ō-shibai but also chū-shibai had the custom of teuchi. There is a print in the same style of Ichikawa Morinosuke surrounded many hiiki in uniform. From the crest of hiiki-ren one cannot tell the name of the ren. In the print, there are two hiiki facing us. The faces are clearly drawn as portraits, but are not actors. I guess hiiki put their portrait in the actor print. There is a hiiki Rojū's print in the uniform of Sasase-ren. He was well known as the Sasase-ren's best clapper. Rojū must have subsidized this publication. Seeing this print helps us better understand the previous example.Let's examine the san(讃)-kyōka or kyōku (comic poems) found in actor prints. The composers of san can be divided into four types. (1) Actor himself composed the san. This is the most common case. (2) Hiiki composed the poem. Sometimes they are annonymous. but we can see the names such as Akatsuki Kanenari, Harunoya, Baikō, Toran, Shiinomoto-an and famous hiiki. (3) Artist composed the poem. Mainly the artist who drew the actor portrait composed the poem as well. But sometimes another artist offered the poem. (4) Publisher composed the poem. Naturally publisher can be a supporter of theatres or actors. Tenmaya Kihei and Tokuraya Shinbei often composed poems for prints. Let's examine carefully the artist Yoshikuni and his group. Members are mainly Yoshikuni's pupils. The names of them have -kuni at the end such as Kishikuni, Hashikuni. Chikakuni etc. Or Yoshi- at the top such as Yoshiyuki, Yoshinao. Most of members were not productive. Though I have seen about 200 prints by Yoshikuni. I only have seen less than 10 prints each of 16 out of 19 members of this group. This group produced many chū-shibai actor prints, so they must have been supporters of chūshibai. There are three materials published in 1815 other than actor prints concerning hiiki and artists. The single sheet "HIIKI" compares the list of Arashi Kichisaburō hiiki and Nakamura Utaemon hiiki. At the bottom of the sheet you can find name list of 44 Naniwa Nigao Eshi (Osaka actor portrait artists)."Hiiki no Hanamichi" is a hyōbanki (critique) of Utaemon's supporters. Among hiiki you find three artists Ashikuni. Shunkō and Shunyō. According to the critique, none of them were professional actor print artists. I guess they were rich merchants and dilettante theatre goers and amateur artist."Shikan Setsuyō Hyakke Tsū" is a kind of introductory encyclopedia of Utaemon's fan club. There is name list of hiiki in which you can find Shunyō, Shunkō and Utakuni. They were hiiki as well as artists.Kamigata actor prints were produced through a strong connection with hiiki. Publisher and artist were often hiiki. Before Hasegawa Sadanobu and Ryūsai Shigeharu, there were no professional artists. But it does not mean artistic inferiority. Many kamigata prints of this period are excecllent.
著者
北川 博子
出版者
関西大学なにわ・大阪文化遺産学研究センター
雑誌
なにわ・大阪文化遺産学研究センター
巻号頁・発行日
vol.2006, pp.85-128, 2006

補助事業 文部科学省私立大学学術研究高度化推進事業オープン・リサーチ・センター整備事業(平成17年度~平成21年度)なにわ・大阪文化遺産の総合人文学的研究
著者
松平 進
出版者
甲南女子大学
雑誌
甲南女子大学研究紀要 = Konan Women's University researches (ISSN:03864405)
巻号頁・発行日
no.創立30周年記念[31], pp.57-83, 1995-03-10

1 0 0 0 OA キシレン樹脂

著者
黄 慶雲
出版者
公益社団法人 高分子学会
雑誌
高分子 (ISSN:04541138)
巻号頁・発行日
vol.10, no.1, pp.51-55, 1960-12-20 (Released:2011-10-11)
参考文献数
29