{"created":"2023-07-27T07:45:33.604039+00:00","id":19781,"links":{},"metadata":{"_buckets":{"deposit":"73ba13f0-9f87-4b47-b587-4ee68040587b"},"_deposit":{"created_by":21,"id":"19781","owners":[21],"pid":{"revision_id":0,"type":"depid","value":"19781"},"status":"published"},"_oai":{"id":"oai:doshisha.repo.nii.ac.jp:00019781","sets":["4251:7269:7270:7415:7441","4251:7526:7527:7558:7584","8:2966:3111:3137","8:3221:3252:3278"]},"author_link":["11063"],"item_1693811493084":{"attribute_name":"出版タイプ","attribute_value_mlt":[{"subitem_version_resource":"http://purl.org/coar/version/c_970fb48d4fbd8a85","subitem_version_type":"VoR"}]},"item_1694490770713":{"attribute_name":"権利者情報","attribute_value_mlt":[{"nameIdentifiers":[{"nameIdentifier":"DA1269134X","nameIdentifierScheme":"AID"}],"rightHolderNames":[{"rightHolderLanguage":"ja","rightHolderName":"同志社大学言語文化学会"},{"rightHolderLanguage":"en","rightHolderName":"Doshisha Society for the Study of Language and Culture"}]}]},"item_1_alternative_title_2":{"attribute_name":"その他（別言語等）のタイトル","attribute_value_mlt":[{"subitem_alternative_title":"Differenzierung des Kinos : Das epische Theater und das Kino","subitem_alternative_title_language":"de"}]},"item_1_biblio_info_14":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2006-08-25","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"1","bibliographicPageEnd":"95","bibliographicPageStart":"71","bibliographicVolumeNumber":"9","bibliographic_titles":[{"bibliographic_title":"言語文化","bibliographic_titleLang":"ja"},{"bibliographic_title":"Doshisha Studies in Language and Culture","bibliographic_titleLang":"en"}]}]},"item_1_description_12":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"本論で扱う叙事演劇的映画は、大友良英が言う「周辺聴取的」音の効果を最大限用いることで、ストーリーが展開するフレーム外に広がる状況全体を提示しようとする。ベンヤミンのバロック演劇と同様、「根本的にレーゼドラマ」として読解される叙事演劇において、「文字的性格」をもつアレゴリーとして捉えられる事物は、異化効果によって自明の文脈から引き剥がされ、驚きとともに発見されるべきものとなる。この異化効果に不可欠な「複合的視線」は、映画において俳優の視線とカメラの視線の二重性として現れるが、パゾリーニによれば、それは、カメラが物語を擬態しつつ、「細部についての、なかんずく、本筋とはあまり関係ないような部分についての異様なまでの固執」を示すことで、その存在を露呈し、それによって映画それ自体を乗り越え、「詩の映画」を出現させることとしてある。つまり、パゾリーニにとって映画は、「もうひとつ別の映画をつくりだすことへの誘い」、映画自体の内部における映画の差異化にほかならない。ゴダールは、このような映画を差異化する「シネマトグラフの力」を、何よりも聴覚的なものに求め、非在の映画と、それを聴取する耳を提示する映画との相関関係として提示する。そこで異化される「周辺聴取的」もの音を、われわれは、はじめて耳にするかのような驚きとともに発見することになるのである。","subitem_description_language":"ja","subitem_description_type":"Abstract"},{"subitem_description":"Die sozusagen epischen Filme benutzen die „peripher-akustischen\" Elemente des von Yoshihide Otomo behaupteten „nicht-kognitiven Hörens\", um den Zuschauer die Zustände entdecken zu lassen. Auch das brecht'sche „komplexe Sehen\", das im Kino seine Entsprechung in der Doppelheit vom Blick des Darstellers und der Kamera findet, ermöglicht dem Zuschauer, die Dinge aus ihrem selbstverständlichen Kontext herauszureißen und sie als ein „Geheimnis\" entdecken zu lassen. Dabei gibt, nach Pasolini, die Kamera einerseits vom simulierten Standpunkt des Darstellers die Handlung wieder, aber gleichzeitig verrät sie „durch die exzentrische Obsession zu den Einzelheiten\", ihre Existenz und lässt „das Kino der Poesie\" entstehen. Kino wird so „ein Anlaß zu einem anderen Kino\", das sich innerhalb des Kinos differenziert. Bei Godard findet sich eine solche Differenzierung des Kinos in Korrelation zwischen einem vor allem akustisch bestimmten Kino des Nicht-Seins und einem Kino, das bereit ist, seine Aufmerksamkeit auf die leisesten „peripher-akustischen\" Töne zu richten. Mit Staunen entdeckt man diese Töne, durch die sich das Kino verfremdet.","subitem_description_language":"de","subitem_description_type":"Abstract"}]},"item_1_description_25":{"attribute_name":"フォーマット","attribute_value_mlt":[{"subitem_description":"application/pdf","subitem_description_type":"Other"}]},"item_1_identifier_registration":{"attribute_name":"ID登録","attribute_value_mlt":[{"subitem_identifier_reg_text":"10.14988/pa.2017.0000011001","subitem_identifier_reg_type":"JaLC"}]},"item_1_publisher_15":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"同志社大学言語文化学会","subitem_publisher_language":"ja"}]},"item_1_publisher_16":{"attribute_name":"出版者（英）","attribute_value_mlt":[{"subitem_publisher":"Doshisha Society for the Study of Language and Culture","subitem_publisher_language":"en"}]},"item_1_relation_24":{"attribute_name":"関連サイト","attribute_value_mlt":[{"subitem_relation_name":[{"subitem_relation_name_language":"ja","subitem_relation_name_text":"掲載刊行物所蔵情報へのリンク ／ Link to Contents"}],"subitem_relation_type":"isFormatOf","subitem_relation_type_id":{"subitem_relation_type_id_text":"https://doors.doshisha.ac.jp/opac/opac_link/bibid/SB00952232/?lang=0","subitem_relation_type_select":"URI"}}]},"item_1_select_10":{"attribute_name":"所属機関識別子種別","attribute_value_mlt":[{"subitem_select_item":"kakenhi"}]},"item_1_select_11":{"attribute_name":"所属機関識別子","attribute_value_mlt":[{"subitem_select_item":"34310"}]},"item_1_source_id_17":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"13441418","subitem_source_identifier_type":"PISSN"}]},"item_1_source_id_19":{"attribute_name":"書誌レコードID","attribute_value_mlt":[{"subitem_source_identifier":"AA1127628X","subitem_source_identifier_type":"NCID"}]},"item_1_subject_27":{"attribute_name":"日本十進分類法","attribute_value_mlt":[{"subitem_subject":"778","subitem_subject_scheme":"NDC"}]},"item_1_text_8":{"attribute_name":"著者所属","attribute_value_mlt":[{"subitem_text_language":"ja","subitem_text_value":"同志社大学言語文化教育研究センター助教授"}]},"item_1_text_9":{"attribute_name":"著者所属（英）","attribute_value_mlt":[{"subitem_text_language":"en","subitem_text_value":"Doshisha University"}]},"item_access_right":{"attribute_name":"アクセス権","attribute_value_mlt":[{"subitem_access_right":"open access","subitem_access_right_uri":"http://purl.org/coar/access_right/c_abf2"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"高木, 繁光","creatorNameLang":"ja"},{"creatorName":"タカギ, シゲミツ","creatorNameLang":"ja-Kana"},{"creatorName":"Takagi, Shigemitsu","creatorNameLang":"en"}],"nameIdentifiers":[{},{},{}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2006-11-07"}],"displaytype":"detail","filename":"006009010003.pdf","filesize":[{"value":"72.4 kB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"006009010003.pdf","url":"https://doshisha.repo.nii.ac.jp/record/19781/files/006009010003.pdf"},"version_id":"eb60eb4e-c7c5-4665-aa44-410b8172ed5d"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"Brecht","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"Benjamin","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"Cinema","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"Allegory","subitem_subject_language":"en","subitem_subject_scheme":"Other"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"差異化される映画 : ブレヒト演劇と映画","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"差異化される映画 : ブレヒト演劇と映画","subitem_title_language":"ja"},{"subitem_title":"サイカ サレル エイガ : ブレヒト エンゲキ ト エイガ","subitem_title_language":"ja-Kana"},{"subitem_title":"Differentiation of the cinema : the Epic theater and the cinema","subitem_title_language":"en"}]},"item_type_id":"1","owner":"21","path":["3278","3137","7441","7584"],"pubdate":{"attribute_name":"PubDate","attribute_value":"2006-11-07"},"publish_date":"2006-11-07","publish_status":"0","recid":"19781","relation_version_is_last":true,"title":["差異化される映画 : ブレヒト演劇と映画"],"weko_creator_id":"21","weko_shared_id":-1},"updated":"2023-11-22T05:17:07.903054+00:00"}