| Project/Area Number |
10831004
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
談話(ディスコース)
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| Research Institution | The University of Tokyo |
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Principal Investigator |
ONOE Keisuke The University of Tokyo, Graduate school of humanity and sociology, Assistant Professor, 大学院・人文社会系研究科, 助教授 (90092171)
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| Project Period (FY) |
1998 – 2000
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| Project Status |
Completed (Fiscal Year 2001)
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| Budget Amount *help |
¥3,300,000 (Direct Cost: ¥3,300,000)
Fiscal Year 2000: ¥700,000 (Direct Cost: ¥700,000)
Fiscal Year 1999: ¥1,100,000 (Direct Cost: ¥1,100,000)
Fiscal Year 1998: ¥1,500,000 (Direct Cost: ¥1,500,000)
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| Keywords | manzai / rakugo / discourse structures / Osaka dialect / comic storytelling / 会話 / 落語 / 下げ / 談話 / 大阪ことば(大阪方言) / 談話的特徴 |
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| Research Abstract |
By analyzing the discourse structures observable in a collection of "manzai" and "rakugo" performances, I have come to the following conclusions :
1. A "rakugo" performance has a two-layered structure (i.e., material presentation and empathy development). The two layers not only are condensed into the "sage" part but also permeate the whole text.
2. A "manzai" performance has basically the same discourse structure as this. The material (i.e., what is supposed to be funny) is created by such factors as what the "boke" performer has to say, the view of human nature discernible in his/her remarks, and the way the dialogue develops. It is the "tsukkomi" performer that develops the empathy (i.e., the shared view that the material thus presented is actually hilarious) by saying what he/she says.
3. The long tradition of "manzai" has produced a large number of elaborate patterns for carrying on a dialogue, each being conducive in its own way to efficiently presenting the material as something to be laughed at by everybody present. These patterns fall into the following two major categories : (A) types of conversation that can be observed in our daily lives, and (B) types of conversation that can only occur in the particular genre of art of which "manzai" is a prototypical member.
4. Speakers of the Osaka dialect have a pronounced tendency to make extra efforts to be funny even in daily conversation. In fact, it may not be much of an exaggeration to say that type (B) conversations do occur in everyday life in Osaka.
5. Underlying this tendency is the marked propensity of Osaka people in general to constantly seek something to laugh about. This propensity in turn is based on nine characteristics commonly observable among Osaka people concerning the ways they think and feel and their unique sense of beauty.
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