本稿では，明治以降，恣意的におこなわれた迷信打破が，迷信を排除する方向に世論を導いたのみならず，結句，日本人の心性を制限する方向へと導いた可能性があることを，迷信と述語論理の関連性の観点から論じた．

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We eat and dine everyday. Then how the concept of “dining” is perceived by people? The purpose of this study is to find out the process of acquiring the concept about “dining” through questionnaires concerning “a typical image of dining scene, ” “a typical image of dining script, ” and their reasons. The sample consisted of 188 second-, 211 fourth-, 201 sixth-, and 154 eighth grade children, 293 college students, and 246 parents whose children are elementary school pupils. The results are as follows :
(1) The typical image commonly shared by the adult sample was to eat nutrious and delicious foods, chatting with their family or intimate friends in the evening at home.
(2) Second grade children were found to attach much importance to the physiological function of “dining, ” sixth and eighth grade children to the function of “dining” to the family life, college students to the more general social function of “dining, ” and parents to both physiological and social functions. In other words, the concept of dining develops from the physiological function through the familial to the social functions with ages.
(3) Females attached much importance to all functions of “dining” than makes.

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In this paper, I suggest some frameworks for new methods of decoding ‘the cultural symbolism of the Chinese characters’, presenting a general view of its methodology and subjects etc. in connection with the research of the ritual musics in East Asia.
In any kind of cultural research in East Asia, disregarding the researchers' subjective intentions or tastes, the existence of Chinese characters is something which cannot be ignored. That is because the inscriptive system of Chinese characters is the distinctive cultural characteristic of East Asia. Nowadays, Chinese characters are almost the only ideographic characters used extensively around East Asia. Its power of communication, which rises from its hieroglyphic and graphic nature, is far superior to the ‘long distance communication power’ of general letters. This is because it is not only able to transcend distances of time and space as other letters, but also the distances of languages, cultures and nations. China, as a country, covers a wide area, consists of many nationalities, and unifies many different cultures and numerous languages. This is due greatly to the considerable power of the cultural integration and capacity of the Chinese characters.
Based on their hieroglyphic and graphic nature as well, Chinese characters have become a very fixed inscriptive and communication system that has continued to the present day. As research on the essence of national cultures is the most important purpose of anthropology and ethnology, we should seek pure forms of culture from its original form. In this respect, the ancient Chinese characters have written down for us vast and precise information about primitive forms of every cultural item, related to human actions and cognition, which can be at least trased back to the time when characters came into existence. This is the great value and meaning of Chinese characters in cultural research.
In short, the Chinese characters are at the same time, a human cognitive system of the society and nature, and the codes or symbols of cultures. By interpreting them, and making an accurate cognition about them, we can easily trace back, to a certain extent, the primitive forms of Chinese and East Asia cultures, and bring them to light. That is the point of my ‘cultural symbolism of Chinese characters’.
By investigating the characters of culture (_??__??_) from the viewpoint of this method, in this paper, we can see that the whole culture of East Asia is based deeply on festival rituals. It has a direct link to eternity and infinity, and a trend to venerate nature and transcend nature.
In such environments of nature and culture, most divinities in East Asia exist in nature. And music, the most essential and common factor of culture, has in fact, an origin in the rituals for rain concerning the deity of thunder.
When investigating ancient Chinese characters, we find the character _??_, namely the divinity, taking the shape of lightening. It means that, for the peoples of ancient agricultural nations like China and Japan, the most primary and sacred divinity was the deity of thunder. The praying ritual for rain from the thunder deity was written down as _??_, that is the original form of the character _??_. Its upper part is the shape of rain, and the lower part is the shape of vessels which were used as utensils for incantation. During the ritual, striking these vessels with something like a short sword was described as _??_, this is the primary form of the character _??_, showing the original concept and meaning of music.
Generally, I think that nature, human, and culture, as well as every cultural subjects are ordered in a structured frame, where all of them influence and intertwine with each other. Thus, in researching ritural music in East Asia, we should not look at only the construction of the music, but should take into account their many related and surrounding subjects, especially

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    Kei Yoshida's recent book Philosophy of the Social Sciences: An Introduction is the first introductory textbook on the philosophy of the social sciences written in Japanese. It concisely expounds on a wide range of topics in the discipline, while its explication of those topics is not impartial or neutral as the author himself says. This paper gives a critical review of the book. The first half of it briefly overviews and assesses the book as a whole. The latter half of the paper reconstructs the gist of the author's exposition of the naturalism/interpretivism debate and criticizes it.

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The purpose of this paper is to examine the social function of music transmitted in the village communities in the Shimokita region of Aomori Prefecture, in particular from the perspective of enculturation. The learning of a music within a community involves not only that music, but also the learning of various matters that are concomitant with it. This paper will therefore clarify the social structure of the communities in an attempt to understand the state of their music culture. It will then present an interpretation of how music has functioned within communal society, taking as an example the nomai of Ori in Higashidori-mura.
A variety of types of folk music are transmitted in the Shimokita region. Almost all of them take the style of geino, that is performing arts, in which music, dance, and theatre come together. These include shishi-kagura (nomai and kagura), kabuki, matsuribayashi, nenbutsu (a type of wasan, colloquial Buddhist music), and several teodori. It is in the latter that the tendencies of the folk music of Shimokita are most clearly reflected. In the neighbouring regions of Tsugaru and Nanbu, folksongs developed as solo vocal pieces into what may be called a stage vocal art. In contrast, in Shimokita, folksongs are sung as an accompaniment to teodori, generally by a number of people together. Percussion instruments, taiko (drums) and kane (a type of small cymbal), are always used as well.
The inclination of the music of Shimokita towards geino style is connected closely to the characteristic social structure of the communities of the region.
Firstly, the primary industries of Shimokita were restricted by its cool climate and, up to the Second World War, did not produce adequately. For that reason, differences in economic well-being did not develop to the extent of dividing the society into classes. Within the community, the principle of not producing bunke (branch families) was observed, so that the division of property should not result in further poverty. Since the community is made up only of honke (head families), the status within the communities of each ie (family) is equal.
One force that brings together these equal ie as a single community is that of the system of communal economy. (For instance, in a fishing community, the catch is sold through the community's fishing cooperative, and the profit is distributed equally between each ie, or used for communal purposes.)
Another force is the existence of the ‘age group’. In Shimokita, a type of age grade system can be observed. The members of each ie participate in an appropriate group in accordance with their position in the ie. By doing this, they perform their roles as members of the community. Functions essential to communal life are traditionally distributed between the age groups. Those in festivals and ceremonies are especially well-defined.
We may construe here that strong communal relationships of this type are reflected in the music culture of the communities, and further that the people living in them learn of ‘community’ (and, in turn, culture) by means of learning the music. Strong communal relationships between members of equal status were indispensable in the daily life of the Shimokita communities. The people play their part in this ‘community’ by participating in their appropriate age group, where they perform the music of festivals and ceremonies. This music, furthermore, takes the geino style. It is, in other words, music performed not alone but with others of the same age group. What is important in this case is not whether an individual is more skilled than his fellows, but rather whether he can participate in the realization of a geino by adjusting to them. The sense of collectivity or community that can be discerned in the style of the music

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　本研究は、スタジアムにおけるサポーターの観戦享受に焦点を当てる。各クラブや各地域によって、サポーターの観戦享受の仕方は多様である。とりわけ、サポーターグループに所属するメンバーは、スタジアムにおいて他者との相互作用を通してサッカーを観戦している。本研究の目的は、そうしたサポーターが互いに構築する関係性に関する「相互作用」の特質性を明らかにすることである。
　調査対象は、アビスパ福岡のサポーターグループにおいて最も熱狂的とされる「ウルトラ・オブリ」とする。本研究では、2005～2009シーズンに開催された「アビスパ福岡」ホームゲームを対象としたフィールドワーク、「ウルトラ・オブリ」の創設者であるグループリーダーへのインタビュー調査、グループメンバーへの質問紙調査を実施した。それらの結果を踏まえ、グループの組織体制及び集団特性を抽出して、スタジアムにおけるメンバー間の相互的関係性を考察した。
　「ウルトラ・オブリ」の活動をより具体的に描写するために「組織を形成する基本特性」と「応援パフォーマンス」の二側面から考察した。本研究では、サポーターの応援活動に関する分析を通して、彼らが構築する「連なり」の関係性について明らかにした。それは、他者との不即不離を特徴とした相互作用の形態である。サポーターは、そうした特質的な相互作用を介した関係性を構築してサッカーを観戦している。

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