2007年8月25日から29日の間、京都国際会館において、International Research Society for Children’s Literature（国際児童文学学会）大会が開催されることになっています。本大会に先立つ2005年には、IRSCLの理事会メンバーが大会準備で来日するため、研究発表交流会が開催されました。国際的に活躍する児童文学者たちの最新の研究に触れる機会を広く提供するとともに、日本の研究者の研究成果を世界に発信する場となることが、この会の目的でした。
| 2005年3月31日、西宮市にある神戸女学院大学を会場として、IRSCL日本支部研究発表交流会が行われました。一日だけの会でしたが、地元の関西だけでなく、関東や北海道から来てくださった方もあり、69名の参加者を得ました。同大学は小高い丘の上にあって景観がよく、設備もすばらしいものでした。 研究発表交流会の目的は、児童文学・文化関係の諸団体との交流を通してIRSCLをPRするとともに、研究者に英語で発表する場を提供し、2007年日本大会への布石とすることでした。 テーマは”Representations of Otherness in Children’s Literature, Other Genres in Children’s Culture”。発表者は、IRSCLの国際理事6名を含めて外国から７名、日本から５名の計12名で、盛りだくさんな一日でした。海外から多大の関心が寄せられているアニメーションとマンガに関しても、日本アニメ―ション学会から陶山恵氏、日本マンガ学会から吉村和真氏が発表してくださり、バラエティーに富んだプログラムとなりました。 10時から18時というハードスケジュールでしたが、とても活気のある会となりました。神戸女学院大学院の通訳コース関係者のご好意により、全部の発表と質疑応答に同時通訳がつき、そのおかげで集中して聞くことができたと好評でした。（残念ながら、2007年の大会では、予算の関係で、全部の発表に通訳をつけることは難しいと思われます。） 個々の発表内容の詳細につきましては、下の一覧表をご参照ください。パワーポイントを利用して論点をはっきりさせたり、視覚的に具体的なイメージを提供したりするなど、発表にも工夫があり、多様な文化・言語の聴衆の場では現代の機器が力強い味方となりえることが実感されました。他方で、機器に頼らず、肉声の対話による脚本朗読を盛り込んだ発表もあり、強い印象を残しました。発表会終了後、食堂で懇親会が開かれ、40名弱の参加者が和やかな雰囲気で交流をもちました。 この交流会の成功は、2007日本大会の開催への大きなステップとなりました。今後も関係学会・団体と連携しながら、2007日本大会開催の準備を進めていきたいと思います。会場校となりました神戸女学院大学をはじめ、ご協力をいただいた通訳の方々、参加してくださった皆様に、心より感謝申し上げます。 |
The paper will examine the way some contemporary writers and illustrators of children’s books are experimenting with form, often in response to new media. The remediation of picturebooks will form one strand of the talk; I will also consider the rapidity with which initially challenging and innovative ideas are popularised and absorbed into the mainstream of children’s publishing. The purpose behind this initial exploration is to challenge Jacqueline Rose’s influential contention (The Case of Peter Pan, or, The Impossibility of Children’s Literature) that children’s literature is innately conservative, and to take up the idea put forward by Juliet Dusinberre in Alice to the Lighthouse that in fact the children’s literature of one generation creates the writers of the next. Dusinberre traces the roots of Modernism back to Alice in Wonderland; implicit in this idea is that if children’s literature were as conservative as Rose suggests, adult fiction would become moribund. The final section of the paper will look at the way some Young Adult fiction experiments with form and formats in ways that question many of the assumptions about what texts are and how they work and so function to break the ‘ideology trap’ identified by Australian critic, Robyn McCallum (Ideologies of Identity in Adolescent Fiction), as symptomatic of traditional children’s literature.
2.
Connections and Divisions between "Manga"
and "Children"
（YOSHIMURA, Kazuma）
The phrase “manga (comics) are for children,” is forever being repeated by Japanese critics and reviewers in Japanese academic circles, whether confirming or denying the value of manga. This cliche has the same root as censorious attitudes towards students and businessmen reading manga on campuses and in trains ? behavior that started around 1960 in Japan and in the early 80s in other countries which is often regarded as both surprising and deplorable. In order to analyze the concept of “manga for children” (a key term in the new ? yet increasingly institutionalized ? field of Manga Studies in Japan), in this paper I introduce new perspectives on the behaviors and cliches mentioned above by applying an Intellectual History methodology. This leads to consideration of the questions, “Why is it necessary to study or teach Manga at university?” and, “Should manga such as Astro Boy, Doraemon and Crayon Shin-chan be included in or excluded from the category of ‘manga for children’?” I will explore these questions by considering the historical trends of manga from the 60s, along with Tezuka Osamu and Fujiko Fujio’s opinions about “manga for children” and the characteristics of the magazines where their work was serialized. In conclusion, these theoretical questions and issues are connected to the practical problems I face in my professional life as a university lecturer on manga and also as a staff member of a joint enterprise between local government and a local university for establishing “The Kyoto International Manga Museum” (provisional name).
3.
The Universal Republic of Children's Literature
（O’SULLIVAN, Emer）
Taking as my point of departure Paul Hazard's influential statement in 1932, "Every country gives and every country receives - innumerable are the exchanges - and so it comes about that in our first impressionable years the universal republic of childhood is born", I would like to show how the actual circumstances of the development of children's literature and its international exchange belie this utopian vision. Two issues will be the centre of focus: The first is the imbalance in the international exchange of children's literature and, related to this, the question of who writes and who is written about. The second issue concerns models of universal development of children's literature. Most descriptive models of the history of this branch of literature are based on its development in the industrialized countries of north-western Europe and are presented as universally valid rather than culture-specific accounts. A brief look at differences in the course of development of children's literature in some African countries and even in the most north-western European country, Ireland, will reveal factors specific to post-colonial children's literature which contradict the apparently universally applicable models.
Fairy tales have pervaded almost every domain of contemporary culture. They are constantly being appropriated by other genres as well as by all the mass media of our technological age. In recent years, the fairy tale has has become a popular source of inspiration for detective fiction and other books inspired by the mystery genre. These works range from picture books for very young readers such as Allan Baillie and Jonathan Bentley’s Archie, the Big Good Wolf (1998), to adolescent novels such as Gerard Moncomble’s Romain Gallo contre Charles Perrault, to adult novels like Ed McBain’s Matthew Hope Novel series, which includes the titles Cinderella, Snow White and Rose Red, Jack and the Beanstalk, Beauty and the Beast, Rumpelstiltskin, Goldilocks, and Puss in Boots. In the 1990s, the French author-illustrator, Yvan Pommaux, offered a highly original blending of the fairy tale and the mystery genre. His picture book series about the black cat detective John Chatterton blends fairy tale, detective novel, and film noir, while at the same time borrowing extensively from the comic book. Thus far the series includes rewritings of Little Red Riding Hood, Snow White, and Sleeping Beauty. This paper proposes to examine the various techniques used by Yvan Pommaux to transform fairy tales into contemporary detective stories in John Chatterton detective (1993), Lilas (1995), and Le grand sommeil (The deep sleep, 1998).
5.
Current State and Future Prospects of Japanese
Animation
（SUYAMA,Kei）
Japanese animation, better known as anime, currently enjoys great acclaim in many countries around the world. Animated film broadly influences Japanese young people, who through daily contact develop a relationship with this unique culture, while the innumerable possibilities that anime offers also keeps animators engaged in constant pursuit of innovative modes of expression. Against this backdrop, 2004 was an interesting year ? one in which we faced a myriad of themes well suited to treatment by Japanese animated feature films. The year saw the successive releases of new animated feature films by Mamoru Oshii, Katsuhiro Otomo and Hayao Miyazaki, who are enjoying fame both at home and abroad, while works by up-and-coming artists also found a place in theaters to exhibit their creators’ unique talents. Alongside this surge in new releases, there was also a parallel succession of releases of live action films that were remakes of animated films from the past. Underlying these phenomena are two notable trends: extensive discussion and analysis of animated film in Japan and the vast audience this genre has attracted ? ranging from children to adults. The questions that must be asked are: what are the techniques used and what types of stories are told in these films. The way in which these two questions interrelate is an important topic to address with regard to Japanese animation. The appeal of each animated work lies in the manner these expressive techniques and the complexity of the story are interwoven. In this paper, I further examine the salient characteristics and orientations of Japanese animation through an analysis of the animated films released in 2004.
6.
The Otherness in E.L.Konigsburg’s Novels
（SUZUKI, Hiroe）
E.L.Konigsburg has kept a consistent attitude toward the growth of children since she first wrote From the Mixed-UpFiles of Mrs.Basil.E.Frankweiler in 1967. In her works, she often focuses on mental exchanges between peculiar adults and children in process of growing up. The moral supports these adults offer are not compulsive so that the children can find the answers all by themselves. There in the novels, Konigsburg uses the concept of otherness skillfully. Namely, the adults having grasped the importance of acquiring otherness (= to be positively different from the rest) show the children how they should view the world on their own standpoints and how they should achieve their own “internal standards” and how they should behave elegantly. The grown-ups in her novels never get upset or confused. Then, how do they acquire such mentalities? The Outcasts of 19 Schuyler Place (2004), written as a companion novel to Silent to the Bone (2002) is an interesting example. In Silent, Margaret in her 20’s shows an excellent insight to solve the problem her 13-year-old step-brother’s best friend boy faces. Then in The Outcasts, we can see how 12-year-old Margaret has spent her childhood. She needs to be more mature for her age. After leaving a horrible camp where she was teased and isolated, Margaret stays at 19 Schuyler Place with her great uncles for the rest of the summer and launches a plan to save three beautiful clock towers that the city council demands to destruct. The clock towers have been made by her great uncles for many years in their backyard and are extremely beautiful with glasses and clocks and paintings. Through the campaign, she understands the importance of making much of what she thinks is valuable and cooperating with those she trusts in. To be different from other girls of a kind and to get something irreplaceable in mind are unique experiences for Margaret to grow up. Then once having achieved such positive otherness, she can be of quite a strong help to the child who is in confusion, such as the boy in Silent.
7.
A Venture into Fairyland: Fairies as the
Other
（YAMAZAKI, Akiko）
Fairies in British folktales are mysterious neighbours. They live side by side with humans, but little is known or understood about their ways, and encounters with them can be both entrancing and dangerous, because they do not go by the rules?natural or social?which human beings follow. Time works differently in the land of fairies and you can never tell what they might do to you. Danger, delusiveness and beauty, which characterise fairies and call forth dread, curiosity and yearning in humans, all originate in one source, which is difference. Fairies feel, think, behave and live differently from humans. It might be simply because they have different rules and assumptions, but since these are difficult to fathom for humans with their own rules and assumptions, fairies seem to be creatures beyond understanding. Seen in this way, they are a perfect example of the Other, ‘them’ as opposed to ‘us’ humans, that inevitably evokes fascination and hostility. Among many children’s books which draw on fairy stories, three novels, Fire and Hemlock (1985) by Diana Wynne Jones, The Sterkarm Handshake (1998) by Susan Price and Cold Tom (2001) by Sally Prue, can be read as attempts at exploring Otherness through the motif of fairies or elves, presenting them as autonomous Other. Consequently, since the analysis of Otherness always reveals more about those who oppose themselves to the Other rather than those who are regarded as the Other, the three books, like mirrors, throw back our own reflection to us. What gives yet another dimension to this self/other issue is the fact that all these three novels are also stories of love. They all make it clear that love is a relationship between self and other, closeness of which brings out contrast and conflict between the two, as well as creating shared feelings of peace and pleasure. What exactly happens between two individuals in this very basic human relationship is another question explored in the three books, and also in this essay.
8.
Otherness and New Technologies: The ‘Learning
my Dreaming’ Project
（BRADFORD, Clare）
Colonizing powers have always subjected colonized peoples through strategies of ‘othering’, such as labeling them as cannibals and primitives. However, contemporary textual production by formerly colonized groups often contests the ideas of racial and cultural superiority inherent in imperialism by claiming otherness as a position from which to speak. This paper focuses on a project entitled ‘Learning Your Dreaming’, conducted through collaboration between members of a remote Aboriginal community, Wugularr, in the Northern Territory of Australia; two staff-members from Deakin University (including myself); and the Australian Broadcasting Corporation (ABC). The project involves the collection of stories in various Aboriginal languages, with an emphasis on languages and narratives in danger of extinction. The aim is to produce animated versions of the stories for ABC television, as well as a website for each story. Because the project involves collaboration between Indigenous and non-Indigenous people, and between the Wugularr community and large corporations (Deakin, the ABC), questions of ‘otherness’ play a large part in negotiations and communication. In this paper I describe how Wugularr stories are ‘other’ to accepted Western narrative conventions; some of the tensions and opportunities which arise from cross-cultural collaboration; and the possibilities of new technologies for the transmission of traditional narratives.
9.
Towards the Images of the Others in The Story of the Amulet
（NAGASHIMA, Norie）
The purpose of my study is to look at the relationship between the four child characters and other characters in The Story of the Amulet (1906) by Edith Nesbit (1858-1924). My concern rests on the relationship between the four children and other characters. This relationship offers different perspectives on the others. The views are sometimes from the children, and sometimes from the other characters. So what kind of views could be seen from the characters? And how does this view work in this story? Firstly, the way the children see themselves demonstrates their confidence. Secondly, through the contrast and contradictions the children usually come to the conclusion, that they have better ideas and things than those in the Past. The children’s point of view reflects the days in Edwardian London. Thirdly, the children use their position of being the foreigners in different places to advantage, even though they strongly object to be seen as barbarians. In the same fashion, I frequently refer to the four children’s speeches and their interests in other people’s clothes, because it indicates an important key part in my discussion. Clothes of characters always play important roles when the child characters judge the others. In particular, the issue of the clothes in relation to power game is a point crucial to my argument. The four children always rely on and believe the role of the clothes, in the framework of their own culture, as they see the other people. The more serious they are about their culture, however, the more strange they look in the eyes of others. Therefore, it is possible to see that the contradiction of the looks from the child characters and the others indicates the ‘subterranean’ and essential power game in this story.
While James Joyce did not write directly for young people, his novels and short stories contain many young characters. His sympathetic attitude to young people and the tribulations of adolescence are at the forefront in much of Joyce’s writing. In some of his work he demonstrates a playfulness based around his considerable familiarity with folk and fairytales, myths, nursery rhymes, children’s games and children’s lore. In 1936 Joyce wrote a letter to his grandson, Stevie (Stephen Joyce), in which he recounted a French folktale, the story of ‘The Cat and the Devil’. This was later published as a book. It has been illustrated by Richard Erdoes, Gerald Rose and Blachon. I shall consider the approach to Joyce’s retelling of this story in these illustrated versions of ‘The Cat and the Devil’, and reflect on the interaction between Joyce’s words and the work of each artist. My conclusion is that James Joyce is a great picturebook author manque.
11. Staging the Other: Beauty and the Beast
（REYNOLDS, Peter）
My paper draws on my unique access to the rehearsals of leading British director/designer Melly Still's critically acclaimed production of the poet Carol Ann Duffy's new version of eight European Folk Tales first performed at the Bristol Old Vic Theatre in the spring of 2004. Using my observation of rehearsals, and interviews with the director and leading actors, and illustrated by film taken in performance, I will focus on the staging of one of these tales: 'Beauty and the Beast.' I will explore the transition from a familiar written and arguably 'safe' classic text into a disturbing live performance which dramatises self-inflicted harm, fetishises the young male body, and plays with images of attraction and repulsion.
10:30-11:00