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記憶の観点からの演劇研究(2) : 理論的背景(1) : 三つの主題系,ベルクソン,アルヴァックス
https://cuc.repo.nii.ac.jp/records/2066
https://cuc.repo.nii.ac.jp/records/20667a6e3758-ca9e-4da1-ab75-ef164dddd876
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
KJ00004437460.pdf (1.3 MB)
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| Item type | 紀要論文(ELS) / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2005-09-30 | |||||
| タイトル | ||||||
| タイトル | 記憶の観点からの演劇研究(2) : 理論的背景(1) : 三つの主題系,ベルクソン,アルヴァックス | |||||
| タイトル | ||||||
| タイトル | Theatre Research from the Viewpoint of Memory (2) : The Theoretical Backgrounds (1) : "The Three Thematic Fields", "Bergson" and "Halbwachs" | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ページ属性 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | P(論文) | |||||
| 記事種別(日) | ||||||
| 値 | 論説 | |||||
| 記事種別(英) | ||||||
| 言語 | en | |||||
| 値 | Article | |||||
| 著者名(日) |
山下, 純照
× 山下, 純照 |
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| 著者名よみ |
ヤマシタ, ヨシテル
× ヤマシタ, ヨシテル |
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| 著者名(英) |
YAMASHITA, Yoshiteru
× YAMASHITA, Yoshiteru |
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| 著者所属(日) | ||||||
| 値 | 千葉商科大学商経学部 | |||||
| 抄録(英) | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | This second issue from the author's long- termed project concerning "Theatre Research from the Viewpoint of Memory" essentially consists of two parts. The first part, the chapter titled "the Three Thematic Fields", questions what should be the proper categories in the twentieth century's critical and philosophical discourses on "memory". The dualistic scheme seen in the first issue on the subject in December 2004, "constructed memory versus non- constructed memory", has now to be articulated further, the latter component being divided into "traumatic memory" on one hand and "Proustian memory" on the other. Here, "Proustian" means that important involuntary remembrances are deemed to be some searched- forresurrections of past happinesses. Subsequently, the second part, including both of the chapters titled "Bergson" and "Halbwachs", is dedicated to the birth of the theory of "constructed memory", because this should be primary for the relationship between theatre and memory. The fact is, although it was none other than Maurice Halbwachs himself who for the first time established the idea of constructedness of memory in certain social frameworks, he could do this only on the theoretical background derived from Henri Bergson. This is all the more astonishing if one reminds of Bergson's existentialist understanding of the past, which figures a striking similarity to Proust's notion of memory but quite a contrast to Halbwachs' constructivist position. However, in a close examination, it can be discovered that Bergson and Halbwachs started from a common pragmatist/ behaviorist ground. The decisive point separating Halbwachs from his predecessor lay, then, in that he noticed the inevitable function of language in the act of remembering, an excellent observation that Bergson lacked totally. | |||||
| 雑誌書誌ID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN00142578 | |||||
| 書誌情報 |
千葉商大紀要 巻 43, 号 2, p. 31-50, 発行日 2005-09-30 |
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