ゼブラフィッシュ視蓋損傷モデルにおける組織再生の分子機構の解析

早大学位記番号:新7850早稲田大

Commerce and Craft in the Illustrated Companion to Murray’s Japan Guide-Book

Session IV : Crafts as Cultural ResourcesA Handbook for Travellers published by the British publisher John Murray, was one of the leading guidebook series in the 19th century, covering not only Europe but also popular ports of call. The fourth edition of Murray’s guidebook on Japan, A Handbook for Travellers in Japan (1894), has a photo album titled Illustrated Companion to Murray’s Japan Guide-Book (1894), which serves as an addendum and is not found in any other books in the series. Although it has ‘Murray’s Japan Guide-Book’ in the title, the album was published not by John Murray but by Kazuma Ogawa, a Japanese photographer. This paper discusses the conversion and adaptations in photographic formats made for different purposes by comparing his other works on a companion album. As it is a ‘companion’ piece, it had a role in promoting the guidebook and helped achieve commercial value. Simultaneously, it put Ogawa’s photographic craft works into mass production. Rather than taking new photographs for the work, Ogawa adapted works from his other collotype prints, which was his speciality, and introduced halftone printing, which was cheaper and could be mass-produced. This was his second introduction of a halftone print, but it was employed from a more commercial perspective. Ogawa also reorganised and published this guidebook supplement into a two-volume photographic collection for Japanese readers titled Nihon Hyakkei (『日本百景』 A Hundred Views in Japan, 1894). He changed the form again and expanded countrywide readerships. Ogawa took advantage of the opportunity to produce a photo book as an addendum to the guidebook, transforming expensive technical work into a more commercial product for a Japanese audience depending on its intended use. This transition in format not only broadened the readership but also added new value to the same work, and expanded the possibilities of photography

Photographic Relationships in James Murdoch’s Ayame-san

James Murdoch (1856-1921) was an English teacher, a journalist and a novelist who wrote books about Japan. This work discusses the pictures in his novel Ayame-san: A Japanese Romance of the 23rd Year of Meiji (1890) (1892) by comparing them with those of his other works published in the same year. It considers the relationships between the pictures and the story, as well as reality and fiction, to reveal Murdoch’s challenges in depicting Japan. William K. Burton (1856-1899), who prepared the pictures, made the acknowledgement statement in the novel. He insisted, ‘So far as I am aware this is the first book that has been illustrated with true half-tone photomechanical reproductions printed with the letter-press’. Since the book contains traditional Japanese style photographs inside, created with the latest technology of the West, it has a strong impression. Unlike the drawings in Murdoch’s other novel From Australia and Japan (1892), the pictures in Ayame-san do not illustrate the story directly. For instance, although the story is a romance between two Western men and Ayame, a Japanese girl, there are only a few pictures that depict a foreigner, and none of them corresponds with the characters. In fact, another work by Murdoch, Sights and Scenes on the Tokaido (1892), includes exactly the same pictures in this work. However, by approaching the photos from a different angle, it is possible to consider that the scenery in the pictures can be seen from the eyes of the characters in the story. Readers enjoy the plot, and they also enjoy what the characters visualise in the Far East. Although the pictures do not embellish the story emotionally like paintings, they provide readers with information that is not written and give depth to their imagination about JapanSession VI : Public Imag