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全文: "大竹しのぶ"
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  • 村井 源, 川島 隆徳, 工藤 彰
    情報知識学会誌
    2012年 22 巻 1 号 23-43
    発行日: 2012/03/26
    公開日: 2012/06/29
    ジャーナル フリー
    評判分析などが自然言語処理技術によって進められているが,対象は主にWeb上のテキストであり,人文学的な批評文はその主たる対象となっていない.本研究では人文的な批評文の具体的批評対象を計量化することで,批評行為のより深い意味分析に向けての基礎固めを行う.総合的芸術作品である映画と演劇の批評文を対象として,抽出対象を人名と作品名に絞り分析を行った.結果として頻度分析とネットワーク分析で批評における人物の重要性やグループの傾向,他分野との関わりの相違が明らかとなった.またスタッフのデータベースの利用により,語られる固有名詞の批評文中での意味と機能の傾向が抽出された.
  • 松本 誠, 家村 茂, 服部 良吉, 速水 隆夫, 永広 道則, 杉原 泰宏
    テレビジョン学会技術報告
    1980年 4 巻 22 号 59-64
    発行日: 1980年
    公開日: 2017/10/02
    研究報告書・技術報告書 フリー
  • 椎名 伸子
    文学と教育
    2015年 2015 巻 223 号 13-24
    発行日: 2015/11/15
    公開日: 2017/03/20
    ジャーナル フリー
  • 稲山 玲
    西洋比較演劇研究
    2016年 16 巻 1 号 1-16
    発行日: 2016年
    公開日: 2017/04/03
    ジャーナル フリー
    This paper aimed to explain the transition of Hideki Noda’s style through the analysis of Hideki Noda’s A Midsummer Night’s Dream in 1992, an adaptation of Shakespeare’s A Midsummer Night’s Dream. Noda has been an active playwright, director, and actor from the 1980s. Previous studies have indicated that Noda changed his style when he dissolved his theatre company, Yume no Yuminsha. Hideki Noda’s A Midsummer Night’s Dream was produced three months before the dissolution of the company. Noda reconstructed the Shakespearean original, altering it in two major aspects. First, Noda’s version was set in Japan. Second, Mephistopheles, the demon of Goethe’s Faust, made an appearance in the play. Mephistopheles contributed catastrophic aspects to the play, creating an episode out of the original story composed of the stolen words from the characters who had dissatisfaction in their minds. Due to the destructive power of the episode by Mephistopheles, the forest where fairies live, fell into crisis. To avoid the crisis, Soboro, originally Helena, created the new episode of reviving the forest, incorporating the catastrophic episode as a part of it. As the episodes were integrated into an inclusive story, the order of the forest was regained. The multiple episodes and their competitive relationship were the subjects of the play. Because the competitive relationship between the episodes inside the story was put in the foreground, this multi-layered structure may be called metafiction. The reason for creating this adaptation can be inferred from the fashion of occultism of the 1970s, particularly the prophecies of Nostradamus that predicted the end of the world in 1999. In this paper, I interpreted the production as an opposition to the eschatological atmosphere at the time. In examining the transition of Noda as a playwright, the metafictional structure is remarkable. During the 1980s, Noda’s works comprised bold images. In these plays, the images are not intended to be integrated at one point. On the contrary, after the dissolution of his theatre company, many of Noda’s works set clear themes, such as national borders and the Emperor. Hideki Noda’s A Midsummer Night’s Dream was unique in the feature that the multiple episodes were integrated by the metafictional structure of the play and such a structure itself was set in the theme of this play. In this respect, it is possible to understand a part of Noda’s tradition trying to construct a story integrated into one point as well as the criticism of contemporaries.
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