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  1. 13社会学部
  2. 1社会学・社会福祉学研究
  3. 152号(2019年2月)

角兵衛獅子はいかにして「消滅」したか─「近代的子ども観の誕生」の描き直しの一例として―

http://hdl.handle.net/10723/00003590
http://hdl.handle.net/10723/00003590
8888234e-9fe0-4dd8-947f-14ea2fd64df6
名前 / ファイル ライセンス アクション
shakaifukushi_152_1-39.pdf shakaifukushi_152_1-39.pdf (828.7 kB)
Item type 紀要論文 / Departmental Bulletin Paper(1)
公開日 2019-05-08
タイトル
タイトル 角兵衛獅子はいかにして「消滅」したか─「近代的子ども観の誕生」の描き直しの一例として―
その他のタイトル
その他のタイトル The Disappearance of the Kakubei-Jishi Child Performers: Rethinking the Construction of Modern Childhood
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
著者 元森, 絵里子

× 元森, 絵里子

元森, 絵里子

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著者別名
識別子Scheme WEKO
識別子 6490
姓名 MOTOMORI, Eriko
抄録
内容記述タイプ Abstract
内容記述 Kakubei-jishi is a type of child performance that originated in Tsukigata Village, Niigata, Japan. These indentured child acrobats or contortionists are said to have disappeared during the course of modernization, when children started being expected to go to school and supposedly being protected from cruelty such as trafficking and child labor. This can be seen as the trickle-down phase of “modern childhood,” since it reached children who were the most miserable, but this study, by scrutinizing historical discourses on these entertainers, illuminates an alternate polyphonic history.
 In the late 1890s, when modern childhood began to prevail, society began to view kakubei-jishi as objects of pity. Social philanthropists considered their existence to be a “social problem” and coined the term “cruelty to children” in response. Middle class families, however, only used these pitiful children as examples to inspire their own children to be thankful for their circumstances, behave better, and study harder. Meanwhile, the acrobats began to disappear, not because they were protected but because the job was regarded with disdain and became obsolete. The Prevention of Cruelty to Children Act was finally enacted in 1933 but did not clearly prohibit child acrobats and trafficking, which left some children working in newer businesses such as Western-style circuses. Ironically, during the 1920-30s, kakubei-jishi began to be praised as a vanishing local performing art, and appeared in novels and films as popular, romanticized representations of a pitiful but innocent childhood―even though many real children at the time were being excluded from such a “childlike” childhood.
 Modern childhood has not permeated society in a linear way.
Importantly, even when modern sentiments toward childhood began to prevail, children without a childlike childhood were not truly protected, and even began to be discriminated against. We should examine how the concept of modern childhood was constructed as a complex of various viewpoints and agendas―with many elements missing.
内容記述
内容記述タイプ Other
内容記述 【論文/Articles】
書誌情報 明治学院大学社会学・社会福祉学研究 = The Meiji Gakuin sociology and social welfare review

巻 152, p. 1-39, 発行日 2019-02-28
ISSN
収録物識別子タイプ ISSN
収録物識別子 1349-4821
書誌レコードID
収録物識別子タイプ NCID
収録物識別子 AA11966426
著者版フラグ
出版タイプ VoR
出版タイプResource http://purl.org/coar/version/c_970fb48d4fbd8a85
出版者
出版者 明治学院大学社会学部
資源タイプ
内容記述タイプ Other
内容記述 Article
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元森, 絵里子, 2019, 角兵衛獅子はいかにして「消滅」したか─「近代的子ども観の誕生」の描き直しの一例として―: 明治学院大学社会学部, 1–39 p.

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