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ポップカルチャーの中のタカラヅカ ―『ベルサイユのばら』以降の宝塚歌劇団の表象を中心に―
http://hdl.handle.net/10083/00063310
http://hdl.handle.net/10083/0006331039e0a43a-f32f-41c1-a8fb-dd0583f2fd96
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
24 NINGENBUNKA-SOSEIKAGAKU-RONSO-21,p231-240.pdf (403.6 kB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2019-05-08 | |||||
| タイトル | ||||||
| タイトル | ポップカルチャーの中のタカラヅカ ―『ベルサイユのばら』以降の宝塚歌劇団の表象を中心に― | |||||
| タイトル | ||||||
| タイトル | Takarazuka within Pop-culture: Representation of the Takarazuka Revue after The Rose of Versailles | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Takarazuka Revue | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | shōjo culture | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | representation | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | media mix | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | fan culture | |||||
| 資源タイプ | ||||||
| 資源 | http://purl.org/coar/resource_type/c_6501 | |||||
| タイプ | departmental bulletin paper | |||||
| 著者 |
バラニャク平田, ズザンナ
× バラニャク平田, ズザンナ× BARANIAK-HIRATA, Zuzanna |
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| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | The Takarazuka Revue is a popular Japanese theatrical company consisting solely of female performers. Since its establishment in 1914 Takarazuka has often been considered as part of shōjo culture but was its representation the same throughout its history? This paper examines how Takarazuka’s representation has evolved after the staging of The Rose of Versailles in 1974 and attempts to localize its position in contemporary Japanese pop-culture. First, by reviewing Takarazuka’s position as part of pre-war shōjo culture and through content analysis of The Rose of Versailles, I evaluate the effect the play’s staging has had on the Revue. Then, by conducting a discourse analysis of Takarazuka’s representation as seen in anime, manga, and variety TV programs, I localize Takarazuka within Japanese pop-culture and discuss the transition process of its representation. The paper distinguishes three primary themes surrounding Takarazuka’s post-Rose of Versailles representation in the media: Takarazuka as a setting for girls’ comics, Takarazuka as a parody, and Takarazuka’s zealous fans. The results of the analysis show, although Takarazuka is still strongly associated with shōjo culture, it has since surpassed the genre and can be seen to have spread to other pop-culture genres such as fan culture and Japanese idol culture. | |||||
| 書誌情報 |
人間文化創成科学論叢 巻 21, p. 231-240, 発行日 2019-03-31 |
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| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AA1231891X | |||||
| 著者版フラグ | ||||||
| 値 | publisher | |||||
| 出版者 | ||||||
| 出版者 | お茶の水女子大学大学院人間文化創成科学研究科 | |||||
| 資源タイプ | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 紀要論文 | |||||
| 資源タイプ・ローカル | ||||||
| 紀要論文 | ||||||
| 資源タイプ・NII | ||||||
| Departmental Bulletin Paper | ||||||
| 資源タイプ・DCMI | ||||||
| text | ||||||
| 資源タイプ・ローカル表示コード | ||||||
| 03 | ||||||
