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  • 辻 佐保子
    演劇学論集 日本演劇学会紀要
    2021年 72 巻 172-179
    発行日: 2021/06/15
    公開日: 2021/06/29
    ジャーナル フリー
  • ミュージカル・コメディにおける第四の作家
    小林 志郎
    舞踊學
    2000年 2000 巻 3Supplement 号 90-99
    発行日: 2000年
    公開日: 2010/04/30
    ジャーナル フリー
  • ミュージカル・コメディにおける第四の作家
    小林 志郎
    舞踊學
    1990年 1990 巻 13Appendix 号 3-12
    発行日: 1990年
    公開日: 2010/04/30
    ジャーナル フリー
  • 小林 志郎
    演劇学論集 日本演劇学会紀要
    1982年 20 巻 1-12
    発行日: 1982/09/30
    公開日: 2020/12/14
    ジャーナル フリー
  • 渡辺 文
    文化人類学
    2016年 80 巻 4 号 660-663
    発行日: 2016年
    公開日: 2017/02/28
    ジャーナル フリー
  • 及川 茂
    浮世絵芸術
    2011年 161 巻 83-85
    発行日: 2011年
    公開日: 2021/03/31
    ジャーナル オープンアクセス
  • 大阪への偏見を正すために
    木津川 計
    映像情報メディア学会誌
    2003年 57 巻 6 号 656-660
    発行日: 2003/06/01
    公開日: 2011/03/14
    ジャーナル フリー
  • ミラー ブルース
    オーストラリア研究
    2006年 18 巻 2-11
    発行日: 2006/03/25
    公開日: 2017/05/10
    ジャーナル フリー
    Minister-Counsellor (Political), Australian Embassy Tokyo is a career diplomat with the Australian Department of Foreign Affairs and Trade. Throughout his 20-year career, Mr Miller has seen overseas postings in Japan (twice) and Tehran, and assignments in Australia covering international legal and regional security issues, including, just before his current appointment to Japan, responsibility for Australia's relations with Japan, the Republic of Korea and the Democratic People's Republic of Korea. As Prime Minister Howard said during his visit to Australia in April this year "old friends are good friends". Over the past thirty years, Japan as a nation has gone from strength to strength. And Australia has been a close partner, with the bilateral relationship growing stronger and closer each year. The 1957 ratification of a bilateral Commerce Agreement, only 12 years after World War II ended, paved the way for the close and complementary trade and economic relationship that we enjoy today to our mutual benefit. Japan's importance as Australia's largest economic partner remains undiminished. In 2004 Australian exports to our largest market, Japan, were valued at AUD25.6 billion. Japan has been Australia's largest export market for decades. Currently, Australia and Japan are conducting an FTA feasibility study. Even two years ago this was unthinkable. Although it is not a guarantee to enter formal negotiation of an FTA, the study itself is a big step forward. It demonstrates a recognition of the strength of the bilateral relationship. Australia and Japan share a common outlook on many regional and international issues and cooperate closely on them. The decision to deploy Australian troops to Iraq to help maintain the security environment in which Japan's Self Defence Force can continue reconstruction work in al-Muthanna Province is something that could not have been predicted even 10 years ago. It is a practical demonstration of our two countries' common strategic interests and objectives. Australia warmly welcomes Japan's increasingly active role in maintaining international peace and security. During his April 2005 visit to Japan, Prime Minister Howard reiterated Australia's support for Japan's claim for permanent membership of the UN Security Council. There is no single country that has a greater claim to be a new permanent member of the Security Council than Japan. As important allies of the United States, we have a shared interest in maintaining strong US engagement as the bedrock of regional stability. And we are working together to ensure a peaceful resolution of the North Korea nuclear issue, and proper handling of the abductees issue. There is no stronger partner for Australia in the region than Japan Japan has given strong support for Australia's participation in regional forums-including the inaugural East Asia Summit to be held in Kuala Lumpur this December. The bilateral relationship is at a high point and the period ahead provides an opportunity for further growth and enhanced cooperation spanning security, strategic, trade, economic and community linkages. 2006 is the 30^<th> anniversary of the Treaty of Friendship and Cooperation, and of the establishment of the Australia-Japan Foundation. It has been designated as the Japan-Australia Year of Exchange. This is an opportunity to enhance further our strong bilateral links, including at grass roots level.
  • 日本郵船(株)工務部, 三菱重工業(株)長崎造船所造設計部
    Techno marine 日本造船学会誌
    1992年 752 巻 80-88
    発行日: 1992年
    公開日: 2018/01/18
    解説誌・一般情報誌 フリー
  • 竹谷 悦子
    アメリカ研究
    2015年 49 巻 99-117
    発行日: 2015/03/25
    公開日: 2021/11/05
    ジャーナル フリー

    This essay uses the geographic language of the Monroe Doctrine to explore the spatial paradigm shift that transpired in African American literature in the twentieth century. The Monroe Doctrine is grounded in the idea of separable hemispheres and continents, the “basic” global divisions that have long been taken for granted. The spatial ordering of the world, which is divided into Eastern and Western Hemispheres, Europe and America, “Old World” and “New World,” is a resilient paradigm perpetuated by the long-accepted Atlantic-centered codification of the Mercator projection. It is this view of the world in which African American writers of the Harlem Renaissance critically intervene.

    As my subjects in this essay, I have chosen James Weldon Johnson and Walter White―the first and second executive secretaries of the National Association for the Advancement of Colored People (NAACP)―whose international travels afford significant insight into the geography of African American literature. Johnson, known as the “Renaissance man” of the Harlem Renaissance, participated in the implementation of Big Stick diplomacy in Nicaragua in 1912 under the Roosevelt Corollary to the Monroe Doctrine. In his autobiography Along This Way (1933), Johnson justified the occupation of Nicaragua by the US Marines as having been dictated by the Japanese threat to construct a canal across the isthmus to connect the Atlantic to the Pacific via the Caribbean and thereby bring spatial reorientation. Furthermore, Johnson’s autobiography registers a spatial reframing of the Pacific that occurred in the 1920s. Johnson was the first African American delegate of the Institute of Pacific Relations (IPR), an organization that advocated the concept of the Pacific Community. It envisaged a Pacific-centered perspective on the world, transforming the region from the periphery of Europe to a central stage in international politics―a shift that is symbolized by a map entitled “The Pacific Region” in the proceedings of the second biennial conference of the IPR. Drawn using Goode’s projection, which challenged the distortions perpetuated by the Mercator projection, the map represented a Pacific region comprised of Pacific Rim countries, placing Asian countries on the western shores and the United States and Latin American countries on the eastern shores. I suggest that this spatial reorientation had a significant bearing on the way Johnson’s memory of the Monroe Doctrine in Nicaragua was modified in relation to Japan’s military occupation of Manchuria across the Pacific.

    The equator-based Mercator projection rapidly lost its narrative power during World War II. Instead, an innovative cartography adopting an aerial perspective―popularized by the cartographic artist Richard Edes Harrison and his “One World, One War” map (1941)―represented America’s fresh world outlook. Bringing into question the earth’s division into separate hemispheres, and providing a salutary reminder of the Earth’s sphericity and continuity, it ushered in what Alan K. Henrikson has termed “air-age globalism.” Walter White, a pioneer African American globetrotter, navigated in this mutating spatial context. An accredited war correspondent, White flew in the aerial Atlantic world that the US Army Air Transport Command (ATC) created. He investigated the Jim Crow that “flew” to the European and North African theaters with the mobilization of the US military, which resulted in his war report A Rising Wind (1945). In the Pacific theater, White made a 36,000-mile, island-hopping tour with the Naval Air Transport Service (NATS); US forces used Pacific Islands for the military tactics of leapfrogging, building airstrips and integrating military operations using aircraft. Flying the global networks of ATC and NATS, White drew a black version of “One World, One War,” reshaping the language of freedom and “bondage” in Mercator’s maritime world plied by slave ships.

  • 1980年代アメリカにおけるヴェトナム, グレナダ, 第二次大戦
    生井 英考
    アメリカ研究
    1990年 1990 巻 24 号 81-100
    発行日: 1990/03/25
    公開日: 2010/10/28
    ジャーナル フリー
  • 西洋史学
    2005年 220 巻 75-
    発行日: 2005年
    公開日: 2022/04/01
    ジャーナル フリー
  • 倉沢 愛子
    東南アジア -歴史と文化-
    1989年 1989 巻 18 号 41-69
    発行日: 1989/05/30
    公開日: 2010/02/25
    ジャーナル フリー
    During World War II Japan occupied most part of Southeast Asia, advocating for “liberation of Asia” from western colonialism. Her hidden aim was, however, to exploit natural resources as well as human power of those areas, which were to be mobilized for her continuous and ambitious fighting. In order to achieve those purposes, Japan had to acquire cooperation of the population in the occupied areas. Therefore, propaganda activities were one of the most important tasks of Japanese military administration in Southeast Asia. Among various propaganda media movies were particularly promoted, since they were effective in the society where illiteracy rate was high and written media had limited effects. This paper will analyse Japanese film propaganda during World War II, taking the case in Java.
    As soon as Japanese seized power in Java, they confiscated all Dutch facilities and materials for film making and ordered a Japanese movie production company, Nippon Eigasha, to engage in production of news, culture, and feature films in Jakarta. Many distinguished staff were sent from Japan for this purpose. The theme of those films were closely connected with policies of military government. Among the films were those designed to impress people with Japanese military power, to inspire people's consciousness in defense of fatherland, and to encourage production and other labor activities. There were also many “educational” films to teach certain practical technique, scientific knowledge, Japanese songs, and Japanese value concepts. Writer had chance to see some of those films and her impression was that the artistic quality of those films was not bad and the contents were quite attractive.
    Under the Japanese rule kind of films shown in Java entirely changed owing to the prohibition of western movies, which by then had occupied about 85% of the total number of movies shown in Indonesia. Consequently those vacancy was filled by Japanese films, both locally made ones and those imported from Japan. Japanese encouraged movie watching among Indonesian people by reducing fare. But since the number of movie theaters were very small and they were mostly located only in cities, Japanese propaganda bureau organized moving theater teams and frequently carried out outdoor projection in villages. Those movies were free and open to everybody, and usually enjoyed a big audience. Big audience, however, does not necessarily mean positive acceptance of Japanese ideas. People, in many cases, simply came because there was scarcely any other amusement in those days. For most of the audience it was their first experience of movie watching, and impacts of the films were quite strong. Although Japanese propaganda was not successful in making Indonesian people accept Japanese idea for Greater East Asian Co-prosperity Sphere and moulding them into Japanese way of thinking, at least it had certain effects in alleviating people's unsatisfaction and anger towards Japanese and in preventing them from going into large-scale anti-Japanese resistance even in the highest tension brought by harsh economic policies. In that sense Japanese propaganda policies can be considered effective.
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