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The Driving Force of a Woman as a Stage Producer in The Case Files of Onihei ―Resuscitation of and Requiem for”A Woman from he Past”―
Get PDF本稿は池波正太郎著『鬼平犯科帳』の短編「むかしの女」（1968年）に登場するおろくに焦点をあて、その女性性が物語の流れを操り、「『鬼平』＝男の世界」という神話を支えると同時に揺るがしていることを論証する。それを踏まえ、おろくに象徴される「むかしの女」は、この世に存在しなかったものとして見捨てられた我が身を弔えと訴えながら、哀悼の儀式を求めていることを結論として導く。
注目すべきは、牙儈女すあいおんな（江戸後期の非公認の売女）だったおろくが、昔の客たちから過去の関係の口止め料を奪ったことである。それにつれ、おろくは物語で起こる悲喜劇の舞台回しを演じ始める。他方、昔の客たちは公私にわたり体面を保つため、おろくのゆすりに屈してしまう。その結果、牙儈女として日陰の身を生きたおろくの存在は、彼らの貨幣と等しい交換価値を帯びて世間に蘇る。
おろくはたしかに昔の客たちをゆすったが、象徴的に見れば、彼らにおろくを想起させ、記憶喪失の代価を払うよう強いたのは、おろく同様、長らく忘れ去られた「むかしの女」たちから響く女性性の呪い＝祟りである。それに照らせば、盗賊改方長官・長谷川平蔵は、物語の最後でおろくの亡骸を自分の菩提所へ葬ると決めたとき、おろくばかりか、他の多くの「むかしの女」のためにも蘇生と鎮魂の儀式を司っていたと言える。This article features a character named Oroku in"A Woman from the Past"(1968), a short story in The Case Files of Onihei by Shotaro Ikenami, and demonstrates that her female sexuality is controlling the flow of this narrative, both underlying and undermining the myth of"Onihei=the world of men."From here follows a conclusion that"a woman from the past"
symbolized by Oroku has been calling for a ritual of condolence, claiming her long‒deserted
presence should be recalled in mourning.
What is noteworthy about Oroku is that, taking advantage of her past career as an illegal prostitute in the late Edo period, she demands hush money from her ex‒clients to conceal their confidential relationship with her. In effect, she starts serving as a stage producer in tragicomedies throughout the story. Her ex‒clients, on the other hand, reluctantly yield to her requests because they place higher priority on maintaining their reputation. Consequently, the presence of Oroku as an illegal prostitute revives, gaining social value corresponding to the amount they have paid to her.
It is true that Oroku has actually extorted money from her former clients.Symbolically, however, it is the echoing curse of long‒lost women from the past like Oroku that has forced these men to remember her and make up for their amnesia with the compensatory money they have handed over to her. Seen against this backdrop, Heizo Hasegawa (Onihei), General of the Special Operation Forces, plays an essential role at the end of the story in conducting a ritual of resuscitation of and requiem for those women as he determines to set up a grave for Oroku in his family temple, thereby leaving a sign to indicate both the death of this stage producer and the presence of many other women from the past.departmental bulletin pape
Us as Animals
Get PDFジェンダー平等の達成は持続可能な開発目標（SDGs）で設定された17の目標の1つである。ジェンダー平等における諸課題への理解を深める一助とするために、社会的性別であるジェンダーの対概念である生物学的性別（セックス）に関するいくつかの研究を紹介し、進化生物学の観点がジェンダー問題の解決に貢献する可能性について小考した。ヒトをはじめ、有性生殖を行う動物ではサイズや形態が異なる異型配偶子（卵あるいは精子）による繁殖が行われる。配偶子の雌雄差は、雌雄の繁殖における行動様式の違いである性役割を決める要因であり、多くの動物では雄が雌を巡って激しく争い、雌が雄を慎重に選り好みするという性役割が一般的である。ただし、性役割は固定的ではなく可変的なものであり、その個体が置かれている状況に応じて性役割の逆転現象が起こることもある。性役割が卵と精子の質的および量的な違いに影響を受けることは生物学的事実であり、これは他の科学的な事実と同じく人間社会の規範を考える上で参考にすべき情報であるだろう。ただし、科学的な事実が社会のルールを直接決めるわけではない点に注意が必要である。Achieving gender equality is one of the most important issues among the Sustainable Development Goals (SDGs). To understand the issue of gender equality, several studies on biological sex, the counter‒concept of gender, were presented and briefly considered from the perspective of evolutionary biology. As is the case in humans, many sexually reproducing animals use some form of anisogamy (i.e., the production of eggs or sperm). Due to the differences in size and shape between the gametes of males and females, sex role in most animals follows a pattern in which males compete with each other for access to females and females cautiously choose mates. But these sex roles are not fixed and can be reversed with changes in circumstances. The biological fact that sex roles are determined by differences in the production of gametes between males and females, should be referred to when considering social rules for the achievement of gender equality. It is noted, however, that scientific facts do not directly determine social rules.departmental bulletin pape
Musical Activities of a Missionary Wife, in the case of Florence Iglehart
Get PDF本稿の目的は、宣教師夫人の音楽活動をフロレンス・アイグルハート（1884〜1958）の事例に即して明らかにすることである。フロレンスはメソジスト監督派教会宣教師チャールス・W. アイグルハート夫人として3人の娘を産み育て、社会事業に尽力しながら、折々に音楽家として活躍したことが『ジャパン・タイムズ』掲載記事から読み取られる。
歌い手としては、合唱や重唱の他、1930年12月のヘンデル《メサイア》に加えて、1931年12月のブラームス《レクイエム》と1931年12月のバッハ《クリスマス・オラトリオ》の各⚒公演でソプラノ独唱者を務めた。
指揮者としては、1916年4月にメンデルスゾーン《エリヤ》抜粋を東京と横浜の2公演で指揮し、1927年夏の軽井沢での《メサイア》公演では一ヶ月の事前リハーサルを指揮して、いずれもその貢献が特記された。1930年代にはアメリカン・スクールの合唱団を指揮し、東京ユニオン教会では1940年の感謝祭礼拝、1950年と翌年のクリスマス礼拝、1952年の復活祭礼拝で合唱を指揮している。
社会・教育事業への貢献により1953年に夫妻揃って叙勲されており、宣教師夫人として際立った存在であったことが知られる。The purpose of this paper is to clarify musical activities of a missionary wife in the case of Florence Stratton Iglehart (1884-1958). From articles in The Japan Times, it is read that Florence was active as a talented musician from time to time, while raising three daughters and devoting herself to social welfare projects, as Mrs. Charles Wheeler Iglehart, a wife of a missionary of the Methodist Episcopal Church.
As a singer, in addition to singing in choruses and vocal ensembles as Tokyo Choral Society or Tokyo Madrigal Club, she came into the spotlight as the soprano soloist of Handel’s Oratorio Messiah in December 1930, Brahms’ Requiem in March 1931, and Bach’s Christmas Oratorio in December 1931, in the latter two, in each two performances in Tokyo and Yokohama.
As a conductor, she conducted two performances of Mendelssohn’s Oratorio Elijah in April 1916, and a one‒month pre‒rehearsal for the performance of Handel’s Messiah in Karuizawa in the summer of 1927, to both of which special acknowledgments to her conducting were noted. She also conducted the American School choir in the 1930s, and choirs at the Tokyo Union Church at Thanksgiving service in 1940, Christmas services in 1950 and 1951, and Easter service in 1952.
In 1935, she was elected president of the Tokyo Women’s Club and then interviewed about her childhood education. She was home‒educated only in Japan before entering Simmons College and then New England Conservatory in America, but as being the second daughter of George Allchin, a missionary in Osaka known as theʠfather of church music in Japanʡ, she must have spent a musically rich life in her home.
In 1953, Mr. and Mrs. C. W. Iglehart were both awarded decorations for their contributions to Japanese society and education, and it shows her distinguished presence as a missionary wife.departmental bulletin pape
Exploring Narrative Therapy : Arthur Ransome’s Old Peter’s Russian Tales and Pamela Colman Smith’s Annancy Stories
Get PDF本論はイギリス人児童文学作家アーサー・ランサムによる『ピーターおじいさんの昔話』と、タロット画家として有名なイギリス生まれのパメラ・コールマン・スミスによる『アナンシ物語』は両作家にとっての「ナラティブセラピー」としての効果があったことを示す論考である。
ランサムは自伝で、どんな本よりも、コールマンの『アナンシ物語』から、物語の技術の多くを学んだと回顧しているが、ランサムとコールマンについての研究はほぼほぼ皆無である。そこで、本論ではランサムがコールマンからどのような影響を受けたのかというリサーチ・クエスチョンに対し、その答えを両作家がある異国の昔話を「語り直し」ていることに着目し、その意味と意義を社会構成主義から派生した心理学療法である「ナラティブセラピー」に見出そうとするものである。
「語り直し」における、聴衆に向けての効果と、語り手自身への効果を考察し、結果的に、ランサムはコールマンから異国の「民話」を「語り直し」自国で伝承していくテクニックとその意義を見出し、のちの「つばめ号シリーズ」へと続く自身の児童文学作家としてのキャリアの道を切り開いていったことを論証する。This paper explores the possibility that Old Peter’s Russian Tales (1916) by English children’s author Arthur Ransome and the Jamaican folklore, Annancy Stories (1899) written by Pamela Colman Smith, a British-born female artist, famous only as a tarot painter, may have served as a form of “narrative therapy” for both authors. Ransome claimed in his autobiography that he learned more about storytelling from Colman’s Annancy Stories than from any other book, but little research has been done on their relationship. This paper investigates the influenceinfluence of Colman on Ransome by examining how both writers retold a foreign folktale, and analyzes its meaning and significance in the context of narrative therapy, a form of psychotherapy based on social constructionism.
Retelling folk tales from different cultures can have a dual impact on both the audience and the storytellers themselves. For the audience, it can be both entertaining and educational, providing exposure to diverse cultures and preserving cultural traditions. Arthur Ransome, for example, was deeply affected by listening to Pamela Colman Smith’s retelling of Anansi stories at weekly salons in London during the early 1900s.
On the other hands, retelling stories from other cultures has therapeutic benefits, helping storytellers reframe their relationship with their country. Colman and Ransome retold Jamaican and Russian folktales, respectively, to overcome personal issues and develop as cultural bridges. Colman established her racial identity and dealt with gender issues through retelling Jamaican folklores, while Ransome found healing during personal struggles, enabling him to question the values of Western culture as an outsider.departmental bulletin pape