The Exhibition of Oceans A History of the ʻImmersive Exhibitionʼ at Public Aquariums from the 19th to the 21st Century

This paper aims to trace the history of the ‘immersive exhibition’ at public aquariums from the 19th to the 21st century, with reference to technological developments as well as the social and cultural background of these exhibits. We also take a look at what these kinds of exhibitions might look like in the near future.In this paper, we also consider the ‘reality’ presented by aquarium exhibitions. The simulated seascape cannot seem ‘realistic’ unless it meets visitors\u27 expectations. Therefore, aquarists have over time tried to reconstruct’ oceans’ so that visitors would feel as if the exhibition were ‘real’. The first section of this paper focuses on the features of early immersive exhibitions from the 19th to the beginning of the 20th century, comparing them with other visual cultural forms, such as the panorama. The second section treats aquariums from the 20th century to the beginning of the 21st century. We have selected here representative aquariums in Western and Eastern countries and analyse their exhibition styles. In the last section, which features the advent of new exhibitions that apply VR technology, we concisely discuss the exhibition that may appear in the near future

Legend and Collective Memory How to "Remember" the Past in Legend?

Collective memory is an interdisciplinary concept in which scholars from various fields such as archaeology, historical science, sociology, religious studies, and literary studies are interested. It assumes that past events are remembered not only by an individual but also by a group, e.g. citizens, students, and religious community. The idea is also important in the study of legend because a legend is a narrative, staging collective imagery of past forms and events as a "true story". The kidnap in the Pied Piper in Hamelin and magic acts of Dr. Faust are good examples. In principle, legend requires people to believe its contents. Consequently, it can be considered that the formation of tradition through narratives is the process of remembering the "past" in collectivity, in which descriptions of a legend does not always coincide with actual historical events. In the study of memory, it is stated that remembrance, whether individual or collective, is not a mirror of the past. In the remembering process, the one select particular information and bind it together in narrative structure. At the same time, the one omit much of "unimportant" information and may insert fictitious components. Such constructed remembrance relates not only to the past but also to individuals and groups of today. Interestingly, a legend is also created in the selecting process of information. For example, personal documents that witness historical events, famous figures, and narrative motives of old folktales as well as stereotypes of hero, heroin, magician, king, and outlaw can be the selected information in this context. In addition, conspicuous locations of circumstances such as strange objects in the nature, ruins and buildings like the Mouse Tower at Bingen may be of this category. Those information are bound together in narrative structure, through which a legend is further toned with fictitious components. Nevertheless, a narrative moralises and warns people as well as telling the sense of value through exemplification of a "true story". Wolfgang Seidenspinner (1991) briefly argued about relations between collective memory and oral legend, focusing on the works of Maurice Halbwachs and Jan Assmann. Also, Aleida Assmann (2007) suggested some key concepts such as storage memory and function memory in the study of collective memory.Adopting the latter theory, this paper analyses the formation of the Legend of Dr. Faust, the well-known written legend in the sixteenth century, as a clue to understand the nature of remembrance and oblivion in collectivity. Moreover, the paper attempts to reveal positionality of legend in collective memory, making reference to Astrid Erll\u27s theory (2005) in which she discussed the function of literature in collective remembrance. In addition, other theories by scholars such as Lutz Röhrich (1958, 1971), Rolf Wilhelm Brednich (1990, 1991), Jan Harold Brunvand (1989), Halbwachs (2006), Jan Assmann (2007) and Peter Burk (2005) will be referred in the argument

Folter und Todesstrafe bei „Hexen“

諸沢巖教授古稀・退職記念、中島巖教授退職記

Tannhäuser und germanische Mythologie : Über das wahre Gesicht von Venus, Höllengöttin

諸沢巖教授古稀・退職記念、中島巖教授退職記

Die Entstehung der Faust-Sagen : Das Faust-Volksbuch vom Jahr 1587 und sein magiegeschichtlicher Hintergrund

二宮まや教授古稀・退職記念

Was ist die Sagenforschung? : Über die Bedeutungen und die Aussichten der Sagenforschung in Japan

Die Sage ist heute neben Marchen ein bedeutender Forschungsgegenstand, und die bisherige Sagenforschung genoss im 20. Jahrhundert einen groBen Erfolg. In Japan zahlt die Arbeit von Kin\u27ya Abe zu den bekanntesten Forschungen, in der er die mittelalterlichen sozio-kulturellen Hintergrunde der Sage des Rattenfanger zu Hameln entschlusselt. Ich selbst studierte auch bisher kulturgeschichtlich die Sagen von Dr. Faust, Rattenfanger zu Hameln und Klabautermann. Aber dabei stellte ich auch immer die Fragen: Was ist die Gattung "Sage"? Wo liegen die Probleme in der bisherigen Sagenforschung? Was leistet eigentlich die internationale Sagenforschung in Japan? Das heutige kulturwissenschaftliche Forschungsobjekt "Sage" konstru-ierte sich erst gegen Ende des 18. Jahrhunderts. Der Begriff "Sage" enthalt daher eine romantische Vorstellung, und es ist fur unsere weitere Forschung immer von Belang, die ursprunglichen Probleme der Sagen-forschung zu berucksichtigen. So werde ich mich hier mit der Definition und den Eigentumlichkeiten der Sage anhand der Arbeiten von Friedrich Ranke, Lutz Rohrich, Helge Gerndt, Linda Degh und Rolf Wilhelm Brednich beschaftigen und zum Schluss die Bedeutungen und die Aussichten der Sagenforschung erortern. Im ersten Kapitel werde ich die Entstehung des Begriffs "Sage" and die Sagenforschung im 18. und 19. Jahrhundert vorstellen. Im folgenden Kapitel werden die Themen wie "die Definition der Sage", "die Wandel-fahigkeit der Sage", "Sage und Motive" und "Sage und Medien" im Hinblick auf die Forschungsergebnisse uber historische wie moderne Sagen behandelt. Nach der Betrachtung uber these Themen werde ich im letzten Kapitel meinen eigenen Standpunkt zu diesen Problemstellungen darstellen. Zugleich werden meine Auffassungen uber Bedeutungen and Aussichten der internationalen Sagenforschung erlautern. Ich werde hier besonders die Wandlungen vom Bild der Sage und von Aspekten der Sagenforschung im 18. bis 21. Jahrhundert betonen, um zu zeigen, dass die kunftige Sagenforschung immer flexibel und offen fur jede neue Theorie and Kritik sein muss, damit unser Forschungsgebiet immer neue Aspekte geben und auch die unaufhorlichen Veranderungen der wissenschaftlichen Aussichten uberleben kann. Parallel dazu haben wir auch weiter zu fragen, wie die Sagenforschung das bessere Verstehen anderer Kulturen fordern und die Koexistenz der verschiedenen Kulturen weiterfuhren kann

The "Swallowing Dragon" and Rites of Passage : About the Notion of "Death and Rebirth" in European Pictures

Since ancient times in Europe, stories have been told about heroes, gods and saints who fought with dragons. While many of them faced monsters and killed them, there are some stories of heroes and heroines who were swallowed by a dragon, killed it from inside, and emerged unhurt from its body. Some of the pictures and legends from the ancient or medieval times tell about those dragon-slayers. For example, according to a picture on a vase of the 5th century B.C., the famous Greek hero Jason was swallowed apparently by a dragon and came out again of its mouth. A legend also tells that the Irish hero Fionn Mac Cumhail entered the body of a dragon and killed it from inside. We can also find the similar motif in the medieval paintings and the legend of St. Margaret. The meaning of those pictures and legends seems difficult to understand. I analyzed the motif of the "swallowing dragon" by applying it to the scheme of rites de passage. According to Arnold van Gennep, the rites of passage consist of three steps-separation, transition, and incorporation. It is also said that they symbolize the death and rebirth of a person who moves from one state to another. I viewed that the motif of the "swallowing dragon" represents the death and rebirth at the rites of passage of heroes or saints. At the beginning of the article, the pictures and stories of the "swallowing dragon" are presented. After that, I will compare the European "swallowing dragon" stories with the notion of the "swallowing animals" in other countries (they appear at the initiation of Siberian and Eskimo shamans as well as the people of New Guinea) and examine the analogy between them. Then, I will apply the Genneps schema to "swallowing dragon" stories and consider whether we can count them among the rites of passage. With the results from those studies, I will clarify the notion of death and rebirth in the European pictures, myths and legends