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<DIV><FONT face=Arial size=2>Dear Ann,</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>I came across a relevant research presented at a
communication studies seminar at Seijyo University and this is from
2006:</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2><A
href="http://weblab.seijo.ac.jp/yminami/site01.html#Anchor-11481">http://weblab.seijo.ac.jp/yminami/site01.html#Anchor-11481</A></FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=Arial size=2>Go to: <A
href="http://weblab.seijo.ac.jp/yminami/site01.html#Anchor-11481"><FONT
face="MS Gothic" size=3>メディアとことば研究会</FONT></A></FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>”</FONT><FONT face=Arial size=2><FONT
face="MS ゴシック, MS Pゴシック, ヒラギノ角ゴ Pro W3, Osaka-等幅, Osaka, 平成角ゴシック">1 発表者 宮副ウォン 裕子(桜美林大学大学院国際学研究科教授)</FONT></DIV>
<DIV>
<P align=left><FONT
face="MS ゴシック, MS Pゴシック, ヒラギノ角ゴ Pro W3, Osaka-等幅, Osaka, 平成角ゴシック">2
タイトル ジャンルとしての対談にみられる説得ストラテジー</FONT></P>
<P align=left><FONT
face="MS ゴシック, MS Pゴシック, ヒラギノ角ゴ Pro W3, Osaka-等幅, Osaka, 平成角ゴシック">3 キーワード 対談、対談者、オーディエンス、編集、説得のストラテジー</FONT></P>
<P align=left><FONT
face="MS ゴシック, MS Pゴシック, ヒラギノ角ゴ Pro W3, Osaka-等幅, Osaka, 平成角ゴシック">4概要 </FONT></P>
<P align=left><FONT
face="MS ゴシック, MS Pゴシック, ヒラギノ角ゴ Pro W3, Osaka-等幅, Osaka, 平成角ゴシック"> 本発表では、日本のさまざまな雑誌によく見られ、他の言語の雑誌ではあまり見られない「対談」というジャンルを取り上げる。対談者は読者を真のオーディエンスとして意識しながら、即興で、共同してジャンルを作り上げ、最終的に編集され出版されている。本研究では、印刷メディアの対談の中に、読者を意識した説得ストラテジーがどのように使われているかを分析・考察する。</FONT><FONT
face="MS ゴシック, MS Pゴシック, ヒラギノ角ゴ Pro W3, Osaka-等幅, Osaka, 平成角ゴシック">考察対象のデータは二人の対談者によるもので、1)エンターテイメント誌の俳優同士の対談(4種)、2)一般週刊誌の対談(インタービュー者とゲスト)(4
種)、3)学術的内容にかかわる対談(4種)である。分析の結果、対談内容の異なり、対談者の関係、読者の異なりなどにより、読者を意識した説得ストラテジーが使用されていることが明らかになった。"</FONT></P>
<P align=left><FONT face="MS Gothic">Asako</FONT></P></FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV></DIV>
<BLOCKQUOTE
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=annekmcknight@gmail.com href="mailto:annekmcknight@gmail.com">anne
mcknight</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A
title=kinejapan@lists.acs.ohio-state.edu
href="mailto:kinejapan@lists.acs.ohio-state.edu">kinejapan@lists.acs.ohio-state.edu</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Wednesday, June 04, 2008 9:48
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> re: taidan histories</DIV>
<DIV><BR></DIV>Thanks, everyone, for the suggestions on <U>taidan</U> reading.
<BR><BR>I guess in the realm of <U>sokkibun</U>, Fukuzawa would be another
example, and he does weigh in on current affairs--insofar as tall tales about
the high seas and evading <U>bakumatsu</U> death threats constitute current
affairs.<BR><BR>Miyoshi is also an interesting thought; I will have to follow
up on that. <BR><BR>And Murakami...where to begin. After having read his
900-page magnum opus on fascist survivalists in the fin-de-siècle Arctic, I
think his TV show might make me explode. But I do think he is a key figure in
recent <U>taidan</U> history, as he certainly has his finger on the pulse of
all the latest <U>3-men kiji</U> and <U>shakai</U> <U>mondai</U>. Not to
mention his place in film history, given that Miike's <U>Audition</U> was
based on one of his novels, to cite just one link.<BR><BR>Anne <BR><BR><FONT
size=1><SPAN
style="COLOR: rgb(102,0,204)">~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~</SPAN><BR>Assistant
Professor, East Asian Languages & Cultures (EALC)<BR>Taper Hall, 356P
<BR>University of Southern California<BR>3501 Trousdale Parkway<BR>Los
Angeles, California 90089-0357 USA<BR>tel: 213-740-3706<BR>fax:
213-740-9295<BR><A
href="mailto:mcknight@usc.edu">mcknight@usc.edu</A></FONT><BR><BR><BR>On
4-Jun-08, at 2:52 PM, Mark Anderson wrote:<BR><BR>Dear Anne,<BR>I've read a
taidan on Ozaki Koyo's Gold Demon (Konjiki yasha) in which Mori Ogai and Koyo
himself participated that dates from 1898 or 1899. So the genre goes at least
that far back. They were discussing the novel in relation to female gender
roles, images of capitalism in world literature, Nietzsche, and contemporary
German trends toward connecting morality and biology. They weren't commenting
on public affairs per se, though, as your post-war example
discusses.<BR><BR>As for the technology used in recording or transcribing the
discussion, I imagine sokkibun shorthand is the method most likely to have
been used though I have no hard evidence for this and have never seen a
discussion of the matter. As you will recall, sokkibun had been widely
institutionalized in literary, legal, and journalistic contexts by then.
Rimbara, Miller, and Vincent have all written on sokkibun in relation to late
nineteenth century Japanese
literature.<BR>
Best,<BR>
Mark
Anderson<BR>
<BR>Anne McKnight wrote:<BR>Good morning,<BR><BR>I'm wondering if anyone has
ever read any good histories or sketches of the genre of the taidan. I'm sure
many of you have your favorite taidan "highlights and lowlifes," as I do. And
I read a piece a while back about Etô Jun and Ôe Kenzaburô as taidan pioneers,
in the sense of weighing in, as artistes, on public events and current
affairs, especially vis-a-vis cultural nationalism and what postwar literature
should be or do. It would probably be too much to ask for references that
describe the use of recording and documenting technologies (e.g. film and
tape), their impact on print culture and the shapes it takes (such as
taidans), but if anything of that general angle comes to mind, I'd be
especially interested in hearing about it.<BR><BR>Thanks for any
leads!<BR><BR>Anne<BR><BR></BLOCKQUOTE></BODY></HTML>