2024-03-28T11:02:51Z
https://u-ryukyu.repo.nii.ac.jp/oai
oai:u-ryukyu.repo.nii.ac.jp:02008229
2023-05-29T05:33:18Z
1642837622505:1642837622936:1642837623447
1642838403551:1642838412624
Unaiismを拓く組踊『執心鐘入』の大団円 : フェミニスト・エスノグラフィーの可能性
Unaiism Manifested in the Denouement of Syushin-Kaneiri : Feminist Ethnography in Okinawa
勝方=稲福, 恵子
Katsukata=Inafuku, Keiko
open access
For the 25^th anniversary of the Okinawan women's Unai-Festival, Syushin-Kaneiri( 1719)was put on stage with a new dramatic interpretation. Since “Unai' means the Sister-Goddess' who protects her brothers in the Ryukyuan-Okinawan folk religion where women are regarded as living goddesses themselves, the “Unai” discourse has been used for the empowerment of women in their various activities. The new interpretation of the denouement of this classic drama under female direction is that the metamorphosed woman-devil is given emphasis as a protagonist of the drama, and she leaves the stage not by expulsion but by her own independent will. There are two grounds for this interpretation: one is the historical background of the drama(the religious reformation by the Regent Shou Jou-ken), which was caused by a feud between the side of Kikoe-Ohkimi and that of the King, and which is metaphorically expressed in the story of Syushin-Kaneiri where Wakamatsu is the embodiment of Confucianism and the Woman represents the native religion). The other ground is the trinary system of the story—the Woman, Wakamatsu, and the Priest— which brings forth the tertiary to break through a dichotomy, and which presents “Unaiism” as a performative discourse on Okinawan women's activities.
論文
the International Institute for Okinawan Studies, University of the Ryukyus
琉球大学国際沖縄研究所
2010-03-19
jpn
journal article
VoR
http://hdl.handle.net/20.500.12000/33925
http://hdl.handle.net/20.500.12000/33925
https://u-ryukyu.repo.nii.ac.jp/records/2008229
2185-4882
AA12519591
International journal of Okinawan studies
1
1
111
122
https://u-ryukyu.repo.nii.ac.jp/record/2008229/files/Vol1No1p111.pdf