本稿では、占領期の有楽町という文化的、政治的コンタクト・ゾーンにおける「性」表象に関して、田村泰次郎の短編小説「肉体の門」（『群像』1947. 3）を軸に考察する。パンパン／私娼とは、社会が排除し、同時に必要悪として包摂した象徴的存在である。そして、パンパンが住まう有楽町は、GHQ の政治的中心であり、敗戦と占領のトラウマを映し出すトポスだろう。だが、有楽町とパンパンを描く文学テクストにおいて、アメリカの「影」は排除されている。GHQ の検閲は、メディアに括弧付きの自由を与え、民主主義を説く。しかしながら、検閲と民主主義とは、矛盾する概念であり、その捻れは「不在の米軍」に照射されるのだ。では、この不在のワンピースは、テクスト／コンテクストの何処に隠蔽／開示されるのだろうか。本稿は、占領期の複層的な性表象に辿る文学研究であり、映画『肉体の門』（マキノ正博・小崎正房監督、1948）に至るメディア研究の序論となる。

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No previous analysis has been made of Japanese advertising (advertising industry and capital) from a social scientific point of view. The study of the history of advertising has also been limited to discussions of custom and fashion.
This paper outlines the history of Japanese advertising in relation to the growth, development and crises of Japanese capitalism, by considering the functions of advertising in several periods of history. It also shows how and when the advertising agency came about and has continued to develop in Japan.

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This paper examines the influence of foreign alliances on competitive advantage in the Japanese record industry prior to World War Ⅱ. In pre-war Japan, the main industry competitors were Nihon Chikuonki Shokai (NCS), Nihon Victor Chikuonki (NVC), Nihon Polidor Chikuonki (NPC), King Record (King), Teikoku Chikuonki (Teikoku), and Dainihon Chikuonki (Dainihon). NCS and NVC had alliances with companies in the United Kingdom and the United States, while NPC and King partnered with German record companies. In contrast, Teikoku and Dainihon remained purely Japanese companies, without foreign affiliations.

What benefits did the record companies receive from their foreign partnerships? And, how did the alliances influence the strategies of their counterparts?

As concerns Western music recordings, the companies with foreign alliances maintained a formidable competitive advantage throughout the pre-war period. On the other hand, for recordings of Japanese music, technological disparity between firms with foreign alliances and solely Japanese firms were essntially erased, and the latter rose to competiveness with the former, especially in the so-called “ryukoka” (Japanese popular songs) market. Thus, the foreign-allied-companies were forced to focus on Japanese music more than ever, this in turn accelerated the expansion of the Japanese music records market. In this context, foreign-partnered companies, such as NCS and NVC, made important contributions to “the golden age of ryukoka”.

Until the beginning of the 1930s, the keys to competitive advantage in the Japanese record industry involved the introduction of new technologies and the sale of Western music records, based on alliances with foreign companies. After the mid-1930s, however, the capability to produce and sell records of Japanese music played a larger role in determining competitive advantage within the industry.

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