Tokyo Woman's Christian University Repository / 東京女子大学学術情報リポジトリ
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敬語が与える印象に関する研究 : マニュアル敬語の実態に着目して
This paper was instigated by the author’s experience of working as a part-time salesperson in the hospitality industry, during which time a customer complained about the author’s overly polite way of greeting. The honorifics suggested by the staff manual —that is, Manual Keigo— may lead to customers feeling a psychological distance between themselves and the staff; therefore, the polite intention of honorifics may not be conveyed to the customers. Honorifics themselves generally express politeness; however, the question was raised from the experience above as to whether the use of Manual Keigo would really convey polite intention and make a good impression in all situations.The author conducted a questionnaire survey to investigate the situations in which Manual Keigo was used, and how salespeople used it. Focusing on the salespeople’s impressions, the author aimed to explore the following three questions: 1)Is Manual Keigo actually used or not, 2)What kinds of Manual Keigo are used in which parts of the hospitality industry, and 3)How do salespeople use Manual Keigo in each situation?The results of the survey revealed that not all the Manual Keigo led to feelings of distance between a salesperson and a customer. In some cases, Manual Keigo reduced distances by expressing closeness and making a good impression on the customer. While Manual Keigo is widely used, it is important for salespeople to use it properly, adapting it to each customer and situation. If a salesperson fails to use it properly, the customer may feel uncomfortable. Many salespeople in the hospitality industry are selective in their use of Manual Keigo according to their judgement of the situation, and their good judgement makes a good impression on the customer
Reciprocal Embodiment : A Note on Simone de Beauvoirʼs Vision of the Self-Other Relation
This essay traces the earlier development of Simone de Beauvoirʼs perspective on our ambiguous existence and its paradoxical potential for forging ethical relations with others. Understanding her quest is particularly relevant for our time of accelerated atomization and disempowerment. Focusing on her essays written in the 1940s, how she struggled to find her own voice, to understand and communicate our nature as an embodied subject, is explored. Deeply unsatisfied both with individualistic and universalistic thinking, she sought from the beginning to articulate her inner sense of ambiguity and its power to connect herself with, as well as separate herself from, others. In her earliest essay, she proposes two angles of approach to the nature of embodiment: the embodied movement of life and the resulting self-objectification for others. These concepts would be refined and incorporated into her vision of an ethical self-other relation in The Second Sex. At this point, she began to grasp the way in which subjective consciousness can transcend itself to meet the other through reciprocal acts of embodiment. It is a joint accomplishment of two subjectivities, each at the same time subject and object, subjective consciousness and objective embodiment. The implication of her vision for a broader human relation is discussed
アリエッティの帰郷 : スタジオジブリの『借りぐらしのアリエッティ』と二つの英語吹き替え版
スタジオジブリがアニメーション化した『借りぐらしのアリエッティ』(2010)は、メアリー・ノートンのイギリス児童文学の古典The Borrowers (1952)を翻案した作品である。『ハウルの動く城』 (2004)や『思い出のマーニー』(2014)を含め、ジブリ映画の伝統に位置づけられる作品は、イギリス児童文学を脚色したり、その影響を受けたりしている。ジブリは、物語の舞台を日本へ移し、アニメーション化に際し、環境の違いや文化の背景の違いを反映した多くの変更を加えている。ジブリ作品の英語吹き替え版の大半はディズニー/ピクサーが制作し、アメリカ人声優を起用しているが、珍しいことに、『借りぐらしのアリエッティ』では2種類の英語吹き替え版が制作された。一つは、ディズニーによるThe Secret World of Arrietty (2012)、もう一つは、イギリス人役者を主に起用した、イギリスの配給会社スタジオ・カナルによるArrietty (2011)である。これら二つの吹き替え版では、脚本、性格描写、それぞれの国固有の事物・風物として焦点を当てる箇所などが違う。そしてそれは、ジブリの日本語脚本とも著しく異なっている。本稿では、こうした点に着目し、日本語版と二つの英語吹き替え版を比較対照し(また、ノートンの原作を適宜参照し)、文化を跨いだノートンの物語の広がりを探る。変更点の多くは、日本、アメリカ、イギリスの文化的な違いに関わること、言語や物質的世界の向こうへ広がる問題、物語の慣例や(特にディズニーの場合には)登場人物や家族関係に対する姿勢の違いが関係することについて考察する。その際、「国民性」といったありきたりの結論にならないよう留意しつつ、関連する要因の数やその複雑さにも配慮する