國立虎尾科技大學 |

A Relativistic Gaze: A Multimedial Exploration of Cultural Participation = 相対主義の眼差し:文化との関わり方を巡るマルチメディア的考察 /

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	A Relativistic Gaze: A Multimedial Exploration of Cultural Participation/ Jordan Niver-Johnson.
其他題名:	相対主義の眼差し:文化との関わり方を巡るマルチメディア的考察 /
作者:	Niver-Johnson, Jordan,
面頁冊數:	1 electronic resource (60 pages)
附註:	Source: Masters Abstracts International, Volume: 87-01.
Contained By:	Masters Abstracts International87-01.
標題:	Sociology. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=32115339
ISBN:	9798288824463

A Relativistic Gaze: A Multimedial Exploration of Cultural Participation = 相対主義の眼差し:文化との関わり方を巡るマルチメディア的考察 /
Niver-Johnson, Jordan,

A Relativistic Gaze: A Multimedial Exploration of Cultural Participation相対主義の眼差し:文化との関わり方を巡るマルチメディア的考察 / [eletronic resource] =Jordan Niver-Johnson. - 1 electronic resource (60 pages)

Source: Masters Abstracts International, Volume: 87-01.

A plethora of media are readily available that paint a picture of the Ainu and their culture -a recognized Indigenous population within modern-day Japan. For instance, we can read about one of their ceremonies, the Iomante (in which a bear is ritually "killed" and sent back to the land of the gods) in Netsugen (Heat Source) by Kawagoe Sōichi, visualize it in the manga Golden Kamuy by Noda Satoru, and engage with it both auditorily and visually in the anime (and now live action) adaptation of Golden Kamuy, The Ainu Bear Ceremony a documentary by Gordon M. Neil in 1931, and in the modern drama film Ainu Mosir. No two media represent the ceremony in the same way, and after one has consumed all these disparate representations, they are left with a multifaceted concept of the ceremony itself which is made up of various visual, auditory, and linguistic sources. This study explores how multimediality shapes our modern perception of the Iomante and by extension Ainu culture. I hope to underscore the significance of fictional characters who exhibit a non-prescriptive and ethnorelativistic relationship with culture. Non-prescription herein will mean refraining from imposing rules, expectations or specific ways of being on oneself in relation to cultural expectations. Characters with this approach to culture observe and interact with it without insisting that they themselves or other members need to conform to that culture completely. Ethnorelativism herein will mean the ability to see one's own beliefs and behaviors as just one reality among many possibilities. Characters who fit into this category approach cultural practices with a willingness to understand them from within that culture's cultural framework.Central to the current study are the following questions: what is Ainu culture, especially when viewed through a modern lens? How has multimediality shaped, albeit sometimes through negative example, our view of the Iomante ceremony as a part of that culture? And finally, what significance may this media have for those who consume it?I hope to show how media figures have been portrayed in ways that encourage us to rethink the concepts of cultural prescription and involvement. In Ainu Mosir, Netsugen and Golden Kamuy we connect to characters who show agency in how they navigate their culture, a model of agency which may eventually prove beneficial to modern people and how they relate to Ainu culture in contemporary settings.

English

ISBN: 9798288824463Subjects--Topical Terms:

551705
Sociology.
Subjects--Index Terms:

Ainu

A Relativistic Gaze: A Multimedial Exploration of Cultural Participation = 相対主義の眼差し:文化との関わり方を巡るマルチメディア的考察 /
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520 # $a A plethora of media are readily available that paint a picture of the Ainu and their culture -a recognized Indigenous population within modern-day Japan. For instance, we can read about one of their ceremonies, the Iomante (in which a bear is ritually "killed" and sent back to the land of the gods) in Netsugen (Heat Source) by Kawagoe Sōichi, visualize it in the manga Golden Kamuy by Noda Satoru, and engage with it both auditorily and visually in the anime (and now live action) adaptation of Golden Kamuy, The Ainu Bear Ceremony a documentary by Gordon M. Neil in 1931, and in the modern drama film Ainu Mosir. No two media represent the ceremony in the same way, and after one has consumed all these disparate representations, they are left with a multifaceted concept of the ceremony itself which is made up of various visual, auditory, and linguistic sources. This study explores how multimediality shapes our modern perception of the Iomante and by extension Ainu culture. I hope to underscore the significance of fictional characters who exhibit a non-prescriptive and ethnorelativistic relationship with culture. Non-prescription herein will mean refraining from imposing rules, expectations or specific ways of being on oneself in relation to cultural expectations. Characters with this approach to culture observe and interact with it without insisting that they themselves or other members need to conform to that culture completely. Ethnorelativism herein will mean the ability to see one's own beliefs and behaviors as just one reality among many possibilities. Characters who fit into this category approach cultural practices with a willingness to understand them from within that culture's cultural framework.Central to the current study are the following questions: what is Ainu culture, especially when viewed through a modern lens? How has multimediality shaped, albeit sometimes through negative example, our view of the Iomante ceremony as a part of that culture? And finally, what significance may this media have for those who consume it?I hope to show how media figures have been portrayed in ways that encourage us to rethink the concepts of cultural prescription and involvement. In Ainu Mosir, Netsugen and Golden Kamuy we connect to characters who show agency in how they navigate their culture, a model of agency which may eventually prove beneficial to modern people and how they relate to Ainu culture in contemporary settings.
520 3 $a 現代日本において公式に認められた先住民族であるアイヌとその文化を描いたメディアは、数多く、そして容易に手に入れることができる。例えば、熊を儀式的に「殺し」、神々の国へ送り返すイオマンテという儀式について、我々は川越宗一の『熱源』で読み、野田サトルの漫画『ゴールデンカムイ』で視覚化し、そして『ゴールデンカムイ』のアニメ化作品（および現在では実写化作品）、1931年のニール・ゴードン・マンローによるドキュメンタリー『アイヌの熊祭り』、現代の劇映画『アイヌモシㇼ』においては、聴覚と視覚の両方でそれに触れることができる。どのメディアも、この儀式を同じように描いているわけではなく、これら多様な表象をすべて享受した後には、様々な視覚的、聴覚的、言語的な源泉から構成される、儀式そのものに対する多面的な概念が残される。本研究では、マルチメディア性がいかにしてイオマンテ、ひいてはアイヌ文化に対する我々の現代的な認識を形成するのかを探求する。私は、文化に対して非規範的かつ文化相対主義的な関係性を示すフィクションの登場人物の重要性を強調したい。ここでの非規範的とは、文化的な期待に関連して、自己に規則や期待、特定のあり方を押し付けることを控えることを意味する。このような文化へのアプローチを持つ登場人物は、自分自身や他のメンバーがその文化に完全に従う必要があると主張することなく、文化を観察し、関わりを持つ。ここでの文化相対主義とは、自己の信念や行動を多くの可能性の中の一つの現実に過ぎないと見なす能力を意味する。このカテゴリーに当てはまる登場人物は、ある文化の慣習をその文化の枠組みの中から理解しようとする意欲をもって、それに向き合う。本研究の中心となるのは、以下の問いである：特に現代的な視点から見た場合、アイヌ文化とは何か？マルチメディア性は、時には否定的な事例を通してではあるが、その文化の一部としてのイオマンテの儀式に対する我々の見方をいかに形成してきたか？そして最後に、これらのメディアは、それを享受する人々にとってどのような意義を持ちうるのか？私は、メディアの登場人物たちが、文化的な規範性や関与という概念を我々が再考するよう促す形で、いかに描かれてきたかを示したい。『アイヌモシㇼ』、『熱源』、そして『ゴールデンカムイ』において、我々は自らの文化をどのように歩んでいくかについて主体性を示す登場人物たちと繋がる。その主体性のモデルは、やがて現代人が現代の状況においてアイヌ文化とどのように関わるかという点において、有益であることが証明されるかもしれない。.
546 $a English
590 $a School code: 0250
650 # 4 $a Sociology. $3 551705
650 # 4 $a Film studies. $3 1179264
650 # 4 $a Literature. $3 557269
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653 # # $a Iomante
653 # # $a Media studies
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690 $a 0900
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