Looking at feminist fictional writings since the time of Charlotte Gilman's Herland from the perspective of how they dealt with the issue of reproduction, one can find a group of works using unisexual reproduction as the central theme or as an important motif. This paper examines one of them, Marginal (1985), a girls'manga (comic) by Moto Hagio. Girls' manga are an important source of insight into Japanese women's views on their gender, and this paper outlines the history of girls' manga in comparison with the boys' counterpart, which provides a clue as to what made Hagio use the theme of unisexual reproduction inMarginal, in which she attempted to examine the concept of maternity.
In the first phase of manga's development from the late 1960's up to the 1980's, both girls' and boy's manga were based on illusions about the opposite sex. Boys in girls' comics were either dashing gentlemen or handsome rebels aching for maternal love, whereas boys' comics were interested in girls only as the object of the macho hero's desire. However, from the late 1980's, while Boys' manga stayed with its fantasies of women as mere recipients of the male sex drive, girls' manga started to see men in a more sober light. The gap between the ideal of equal partnership and reality began to feature strongly, and themes such as homosexuality, transsexualism and transvestism have been given a serious examination.
This shift was a result of a significant change in Japanese women's view on reproduction. As women acquired education and financial independence, they rejected the notion that a woman's happiness lies in love, marriage and childbearing ; the link between marriage and motherhood was broken. Stories centring on the theme on unisexual reproduction appeared in girls' manga amidst this tidal change.
Marginal is a sci-fi manga set in 2999A.D., when Earth is a polluted and diseased planet long deserted by most humans after a pandemic viral infection 700 hundred years earlier made all women infertile. A company that runs an economic empire across the solar system maintains experimental colonies on Earth where no babies can be born and all inhabitants are men. The company supplies the colonies with test-tube children through a pseudo-religious system, but inhabitants live under a dark shadow of apocalyptic pessimism. Hagio examines maternity in an imaginary world where, in the absence of women, motherhood is artificial and there are no heterosexual relationships.
A scientist who has been running illegal reproductive experiments in a hideout on Earth is killed by the company, and a product of his experiments, a telepathic hermaphrodite with the ability to tune into other people's dreams and wishes, survives the attack and encounters colony men. The psychic child causes a catastrophic flood when he responds to the wishes of colony dwellers who dream their doomed world to end, but in a dramatic climax, he empathizes with the Earth's dream of ancient blue seas that nurtured life, a dream of life.
The ambiguous ending ofMarginal seems to support conventional praise of maternity, but here the hope of regeneration comes not from the child's ability to conceive but through restoration of the Earth's productive potential. Hagio sees maternity as something more fundamental than the materialistic notion of baby-making; to her, restoration of the fertility of the Earth, the source of life itself, is the paramount concern.

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The binding problem has been discussed mainly in visual perception. If the binding in perception is carried out sequentially by selective attention, however, visual short-term memory (VSTM) faces the binding problem to recognize multiple objects simultaneously. Despite some theoretical accounts and empirical data for maintenance of multiple feature-bound objects, recent studies directly testing the binding in VSTM suggest that the capacity of feature-bound objects may be highly limited, consistent with an idea that binding is sequential even in VSTM. Binding in perception and VSTM may share a common mechanism operating on feature maps at lower- and higher-level visual areas, respectively.

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　「彼ら彼女らは子供を作らない、つまり『生産性』がないのです」。杉田水脈議員の言葉は、狭義のLGBT に留まらず閉経後の女性など様々な理由で子供を作らない人を「生産性」の名の下に排除する。しかし、クィアな老人は、生産性の論理により二重に周縁化された存在でありながらも、クィアさと老いを対立関係に置く私たちの社会の規範的言説によって想像困難なものにされている。
　本稿はクィアさと老いを二項対立ではなく交差する変数としてとらえ、両者を共に排除する「生産性」の暴力に抗うクィア・エイジングの理論の意義を主張し、その理論的観点から映画『ベンジャミン・バトン』における老いの表象を批判的に検討する。ホモフォビアの言説とクィア・スタディーズは、クィアさを専ら未成熟さ・若さと描くことにより、皮肉にも共にクィアな老人を不可視化してきた。こと2000 年代後半アメリカ社会では、ベビーブーマーの高齢化により加熱するポジティヴ・エイジングのイデオロギーが、「健康な老い」を称揚する裏側で異性愛規範や強制的な健常的身体性を強化した。こうした中で制作された2008 年の『ベンジャミン・バトン』は老いを個人のアイデンティティやライフスタイルの問題に還元することでポジティヴ・エイジングのイデオロギーと共鳴する。一見ステレオタイプ的老いの表象に抗う本作は、老いへの不安を抱える中年ベビーブーマーに「老いなど存在しない」という快楽を提供すると同時に、異性愛規範や支配的な身体のイデオロギーを反復することで成立する。
　本稿はクィアさと老いがいかに相反する規範的言説をなし、その衝突の場であるクィアな老人の想像を困難にするか明らかにする。ストーンウォールの立役者であるベビーブーマーのLGBT が年金世代となり、生産性の名による暴力が正当化される今、私たちは生産性の論理が二重に周縁化するクィアな老人を描き、こうした暴力に抗う、クィア・エイジ ングの理論を開かなければならない。

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本研究の目的は，「おんぶ」や「抱っこ」という身近な育児行為の変化とえじこ，子守帯，ベビーカー等の育児用品の変化と現状の検討を通して，近代日本における子育ての変化の過程を考察するものである．「おんぶ」は，子守や家事の必要性から生れた庶民の育児法であり，その起源は，平安時代にまでさかのぼる．それが明治以降わずか150年ほどの間に「労働のためのおんぶ」から「育児のための抱っこ」へ，日本人の子育てのスタイルが変化をとげた．また明治から昭和の初めにかけて，多くの人々にとっての育児用品は日用品の代替であった．だが第二次世界大戦後，特に，欧米の情報や文化が庶民レベルまで浸透し，普及しはじめる60年代に入り育児用品は家庭で作るモノから買うモノ（商品）へと変化する．モノの豊かさは，ある意味で親子の生活を便利にすると言える．一方，それらは自らの子育ての必要感から作りだされたモノではない．現在，他者から提供されるあふれるモノの中で，その使い方さえ教えてもらわなければならないという逆転現象を生んでいる．それがモノにたよる育児へと変化し，もはや商品化されたモノがないと育児が難しい状況である．子どもの成育環境の悪化が叫ばれる昨今，本研究で取り上げた諸事象は，一考すべき問題であろう．

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