記述言語：日本語   出版者・発行元：関西大学社会学部  

本稿は、平成25年度―平成27年度科学研究費助成事業・基盤研究（C）「ユネスコ世界遺産に関する比較社会学的研究」（研究代表者：荻野昌弘、課題番号：25380724）による研究成果の一部である。As of July 2016, the number of World Heritage sites is 1052. Currently, there are 20 sites in Japan. In recent time, Japanʼs interest in World Heritage sites has been growing. In particular, the Japanese government has achieved the registration of Japanese sites in the World Heritage List for four consecutive years. The purpose of this study is to clarify the process through which cultural properties is assigned cultural value by comparing it with other cultures. It focuses on the public offering of World Heritage sites that was promoted by the Agency for Cultural Affairs, government of Japan, in 2006 and 2007 and the new registration system of cultural properties that was established during the same period. According to The Asahi Shimbun, the number of articles in its regional editions on World Heritage sites has been increasing since 1996, and the first peak occurred in 2007. The reason why World Heritage sites garnered much attention among the local society is that the Japanese government decided to ask the local governments to nominate World Heritage sites in 2006. The investigation and maintenance of the cultural properties in relevant sites so as to enter them on the list is done as part of a regional development campaign.In addition, the Agency classified the sites proposed by local governments into tentative list. Furthermore, it creates new titles according to cultural landscape, industrial heritage, and "Japan Heritage" for cultural properties in Japan. In this manner, it inevitably promotes the automatic rating of such site. Critically, the process of the inscribing the World Heritage List can be considered a "chain of rating the properties"．2016年7月、第40回世界遺産委員会（World Heritage Committee）を経て、ユネスコ世界遺産の登録数は1052件に達した。日本においては、近年、世界資産への関心が高まっており、 4年連続で世界遺産が登録され、日本にある世界遺産の登録数は20件となった。本稿の目的は、他者の文化との比較を通じて、いかにして文化資産に文化的価値が付与されていくのか、そのプロセスを明らかにすることである。ここでは、2006、2007年に実施された文化庁による世界遺産公募と、それに続いて生じる文化資産の新たな認定制度の創設に焦点を当てる。朝日新聞の地方版における世界遺産関連の記事は1996年以降急増している。2007年に第 1次ピークを迎えるが、その要因のひとつとして、文化庁が地方公共団体に対して、世界遺産候補の公募を行ったことが挙げられる。それまでは、文化庁によって、世界遺産暫定一覧表に登録する文化資産が選定されていたが、公募を契機として、地方公共団体が地域の文化資産を世界遺産に登録するためにそれらを発見、維持するというように、地域開発に資する活動へと結びついていったのである。公募後、文化庁は応募された文化資産のなかから、世界遺産登録基準を参照しながら、暫定一覧表に掲載する資産を選定し、その他を暫定一覧表候補としてⅠa，Ⅰb，Ⅱと分類した。さらには、文化的景観、産業遺産、「日本遺産」のような新たな認定制度を創設した。このように、文化資産を序列化することは避けられず、世界遺産の選定プロセスが、文化資産の「認定の連鎖」となりうることについて、注視していく必要があると考える。

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その他リンク： http://hdl.handle.net/10112/10582

記述言語：日本語   出版者・発行元：日仏社会学会  

DOI： 10.20811/nichifutsusocio.22.0_55

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記述言語：日本語   出版者・発行元：社会学研究会  

In recent years, commercial animated films have been produced in large quantities through a specialized production system. However, in the early days of making animations, only a limited number of cartoonists were engaged in producing animated films on a small scale and as a secondjob. Through an analysis of interviews, as well as articles appearing in movie magazines between 1928 and 1945 (with a collection of notes written by animators), the present study aims at clarifying the relationship between the war and animation by considering the purposes and subjects of animated films, and the process whereby the actual production system was established for animation-making. Special attention is given to clarifying the birth of the animator as a professional, which made the production system possible. The results of my investigation show that in pre-war Japan - just as in the case of other traditional arts or jobs - animation production took place within a simple apprenticeship system. In wartime Japan, the military press officer Tadao Yoneyama realized the efficiency of animated films in enhancing the appeal among the common people of National Mobilization and the idea of the Greater East Asia Co-Prosperity Sphere, by eliminating a sort of language barrier. The military thus produced numerous animated films with a propaganda purpose. As a result, the basis of the current production system was established. Numerous animated films were created to help in military training, such as aircraft maneuvers and bomb release. Since animation-making for this purpose requires a high degree of technical knowledge, animators were no longer simple cartoonists but rather experts who knew how to draw animation figures according to the movement of objects. In this way, the actual production system established by the military meant that animation was connected with the state, and institutionalized. This paper also suggests the aspect of media whereby animation films are used for a national policy.

DOI： 10.14959/soshioroji.52.1_87

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その他リンク： https://jlc.jst.go.jp/DN/JLC/20021755215?from=CiNii