{"id":6,"date":"2011-06-09T20:12:29","date_gmt":"2011-06-09T11:12:29","guid":{"rendered":"http:\/\/localhost:8888\/?page_id=2"},"modified":"2025-09-26T21:01:02","modified_gmt":"2025-09-26T12:01:02","slug":"research","status":"publish","type":"page","link":"https:\/\/www.b-ok.de\/ja\/research\/","title":{"rendered":"\u7814\u7a76"},"content":{"rendered":"

\u65e5\u672c\u5b66\u79d1\u3068\u30b3\u30df\u30e5\u30cb\u30b1\u30fc\u30b7\u30e7\u30f3\u30fb\u30e1\u30c7\u30a3\u30a2\u5b66\u3092\u5c02\u653b\u306b\u3057\u3066\u3001\u4e0a\u8a18\u304c\u7814\u7a76\u306e\u5bfe\u8c61\u306b\u6307\u6458\u3057\u306a\u304c\u3089\u3001\u4e0b\u8a18\u304c\u7406\u8ad6\u3068\u65b9\u6cd5\u3092\u6c7a\u5b9a\u3059\u308b\u3002\u76f8\u4e92\u4f5c\u7528\u8ad6\uff08Interactionism\uff09\u307e\u305f\u306f\u7269\u8cea\u7684\u8a18\u53f7\u8ad6\u7684\uff08material-semiotic\uff09\u306a\u89b3\u70b9\u304c\u50d5\u306e\u7814\u7a76\u306e\u57fa\u790e\u3067\u3042\u308a\u3001\u30b3\u30e2\u30f3\u30bb\u30f3\u30b9\uff08\u5e38\u8b58\uff09\u306b\u57fa\u3065\u3044\u3066\u8d77\u3053\u308b\u554f\u984c\u306f\u8a8d\u8b58\u95a2\u5fc3\u306e\u5927\u90e8\u5206\u306b\u306a\u308b\u3002\u535a\u58eb\u8ad6\u6587\u306f\u3001TRPG\u306e\u6587\u5316\u3092\u4f8b\u306b\u3001\u30b0\u30ed\u30fc\u30d0\u30eb\u306a\u30cd\u30c3\u30c8\u30ef\u30fc\u30af\u3001\u30a4\u30f3\u30bf\u30fc\u30cd\u30c3\u30c8\u3067\u306e\u30a2\u30a4\u30c7\u30f3\u30c6\u30a3\u30c6\u30a3\u3068\u30b3\u30df\u30e5\u30cb\u30c6\u30a3\u30fc\u306b\u3064\u3044\u3066\u306e\u7814\u7a76\u3067\u3042\u3063\u305f\u3002<\/p>\n\n\n\n

\u305d\u306e\u305f\u3081\u30012010\u5e74\u30c9\u30a4\u30c4\u30fb\u65e5\u672c\u7814\u7a76\u6240<\/a>\uff08DIJ\uff09\u306b\u5968\u5b66\u751f\u30fb\u7814\u7a76\u751f\u3068\u3057\u3066\u6240\u5c5e\u3057\u3066\u304a\u308a\u3001\u65e5\u672c\u3067\u30d5\u30a3\u30fc\u30eb\u30c9\u30ef\u30fc\u30af\u3092\u884c\u3063\u305f\u30022011\u5e74\u301c2015\u5e74\u3001\u30cf\u30a4\u30c7\u30eb\u30d9\u30eb\u30af\u5927\u5b66\u306eCluster of Excellence “Asia and Europe in a Global Context”<\/a>\u3067\u7814\u7a76\u3092\u884c\u3044\u30012012\u5e74\u306f\u4eac\u90fd\u5927\u5b66\u306e“\u89aa\u5bc6\u570f\u3068\u516c\u5171\u570f\u306e\u518d\u7de8\u6210”\u306e\u30b0\u30ed\u30fc\u30d0\u30ebCenter of Excellence <\/a>\u306e\u62db\u5f85\u3067\u3001\u307e\u305f\u65e5\u672c\u3067\u30d5\u30a3\u30fc\u30eb\u30c9\u30ef\u30fc\u30af\u3092\u3059\u308b\u6a5f\u4f1a\u3092\u5f97\u305f\u3002<\/p>\n\n\n\n

2015\u5e74\u301c2017\u5e74\u3001\u4eac\u90fd\u5927\u5b66\u6587\u5b66\u7814\u7a76\u79d1<\/a>\u306b\u7279\u5b9a\u8b1b\u5e2b\u3068\u3057\u3066\u30012017\u5e74\u304b\u3089\u5c02\u4efb\u8b1b\u5e2b\u3068\u3057\u3066\u6240\u5c5e\u3057\u3001\u30c8\u30e9\u30f3\u30b9\u30ab\u30eb\u30c1\u30e5\u30e9\u30eb\u30fb\u30b9\u30bf\u30c7\u30a3\u30fc\u30ba\u3068\u30ed\u30fc\u30eb\u30d7\u30ec\u30a4\u30f3\u30b0\u7814\u7a76\u3092\u7d9a\u304d\u3001\u305d\u308c\u306b\u3064\u3044\u3066\u306e\u79d1\u76ee\u3082\u62c5\u5f53\u3057\u3066\u3044\u308b\u3002<\/p>\n\n\n\n

\u696d\u7e3e\u30ea\u30b9\u30c8\u306f\u3053\u3053<\/a>\u304b\u3089\u30c0\u30a6\u30f3\u30ed\u30fc\u30c9\u304c\u3067\u304d\u308b\u3002\u4e0b\u8a18\u3082\u3054\u89a7\u304f\u3060\u3055\u3044\u3002<\/p>\n\n\n\n

\u8457\u66f8\u3068\u7de8\u8457\u66f8<\/h4>\n\n\n\n
\"\"<\/a><\/figure>
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Role-Playing Games of Japan<\/strong><\/em>
<\/a>Transcultural Dynamics and Ordering<\/em>s
\u5353\u4e0aRPG\u3084LARP\u306a\u3069\u3001\u65e5\u672c\u767a\u3068\u65e5\u672c\u306b\u304a\u3051\u308b\u975e\u30c7\u30b8\u30bf\u30eb\u30ed\u30fc\u30eb\u30d7\u30ec\u30a4\u30f3\u30b0\u30b2\u30fc\u30e0\u3068\u305d\u306e\u53ef\u80fd\u6027\u3001\u30b0\u30ed\u30fc\u30d0\u30eb\u306a\u6587\u8108\u3067\u306e\u6d41\u52d5\u6027\u306b\u3064\u3044\u3002<\/span>
Palgrave, 2020.<\/p>\n<\/div><\/div>\n\n\n\n

\"\"<\/a><\/figure>
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Debating Otaku in Contemporary Japan<\/a><\/strong><\/em>
Historical Perspectives and New Horizons<\/em>
\u65e5\u672c\u306e\u300c\u30aa\u30bf\u30af\u300d\u8ad6\u3092\u30c6\u30fc\u30de\u306b\u3001\u521d\u306e\u82f1\u8a33\u3092\u542b\u3080\u7de8\u8457\u3002\u5171\u540c\u7de8\u96c6\u8005: Patrick W. Galbraith, Thiam Huat Kam.<\/span>
Bloomsbury, 2015.<\/p>\n<\/div><\/div>\n\n\n\n

\"\"<\/a><\/figure>
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Uses & Gratifications of Boys’ Love Manga<\/a><\/strong>
Fujoshi or Rotten Girls in Japan and Germany<\/em><\/p>\n\n\n\n

\u65e5\u672c\u3068\u30c9\u30a4\u30c4\u3067\u306e\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc\u3092\u5143\u306b\u3001\u30dc\u30fc\u30a4\u30ba\u30e9\u30d6\u73fe\u8c61\u306e\u5b9f\u8a3c\u7684\u7814\u7a76<\/mark>\u3002
Kovac, 2010.<\/p>\n<\/div><\/div>\n\n\n\n

\u8ad6\u6587<\/h4>\n\n\n\n

2025. \u201cTranscultural Learning with Role-Playing Games: Awareness through First-Person Experiences<\/a>.\u201d\u00a0Mechademia<\/em>\u00a017 (2): 229-246. \u3010\u67fb\u8aad\u3042\u308a\u3011<\/p>\n\n\n\n

2025. \u201cEmbodied Play in Japan \u2014 From Escape Rooms to Larp (Live-Action Role-Play).\u201d In Rachael Hutchinson (ed.), Handbook of Japanese Games and Gameplay<\/em>. Amsterdam: Amsterdam University Press, 81\u201395.<\/p>\n\n\n\n

2024. \u300c\u751f\u6210AI\u3068\u306e\u30a2\u30d7\u30ea\u958b\u767a\u306b\u3064\u3044\u3066\uff1a\u6587\u5316\u8d8a\u5883\u7684\u5b66\u7fd2\u7528\u306e\u305f\u3081\u306ereLarp\u201d\u300d. Medical Imaging Technology<\/em> 42 (3): 79\u201386. 10.11409\/mit.42.79<\/a>.<\/p>\n\n\n\n

2022. \u201cReenacting Japan\u2019s Past That Never Was: The Ninja in Tourism and Larp.\u201d In Vanessa Agnew, Juliane Tomann, and Sabine Stach, Reenactment Case Studies: Global Perspectives on Experiential History<\/em>. New York: Routledge, 146\u201370. 10.4324\/9780429445668-10<\/a>.<\/p>\n\n\n\n

2022. \u300c\u65e5\u672c\u306b\u304a\u3051\u308b\u30e9\u30a4\u30d6\u30fb\u30a2\u30af\u30b7\u30e7\u30f3\u30fb\u30ed\u30fc\u30eb\u30d7\u30ec\u30a4(LARP)\u304a\u3088\u3073\u6559\u80b2\u30ed\u30fc\u30eb\u30d7\u30ec\u30a4\u30f3\u30b0\u306e\u7814\u7a76\u65b9\u6cd5\u8ad6\u306b\u304a\u3051\u308b\u554f\u984c\u70b9 : \u30ea\u30e2\u30fc\u30c8\u30d5\u30a3\u30fc\u30eb\u30c9\u30ef\u30fc\u30af\u306e(\u4e0d)\u53ef\u80fd\u6027\u306b\u3064\u3044\u3066\u300d\u8352\u6728\u6d69\u7b49\u7de8\u300eAfter\/With\u30b3\u30ed\u30ca\u306e\u300c\u56fd\u969b\u65e5\u672c\u7814\u7a76\u300d : \u30e8\u30fc\u30ed\u30c3\u30d1\u304b\u3089\u306e\u5831\u544a<\/a>\u300f\u56fd\u969b\u65e5\u672c\u6587\u5316\u7814\u7a76\u30bb\u30f3\u30bf\u30fc: 201-219.<\/p>\n\n\n\n

2021. \u300c\u8ca0\u3051\u308b\u305f\u3081\u306e\u30d7\u30ec\u30a4\u30fb\u76db\u308a\u7acb\u3066\u308b\u30d7\u30ec\u30a4\u2015\u2015\uff2c\uff21\uff32\uff30\u3067\u306e\u5171\u540c\u5275\u9020\u7684\u306a\u30b9\u30c8\u30fc\u30ea\u30fc\u30c6\u30ea\u30f3\u300d\u5927\u585a\u82f1\u5fd7\u7de8\u300e\u904b\u52d5\u3068\u3057\u3066\u306e\u5927\u8846\u6587\u5316<\/a>\u300f\u6c34\u58f0\u793e: 313\u2013332.<\/p>\n\n\n\n

2021. \u300c\u65e5\u672c\u3067\u5e83\u304c\u308b\u4f53\u9a13\u578b\u30b2\u30fc\u30e0LARP\u300d\u5ca1\u672c\u5065\u30fb\u677e\u4e95\u5e83\u5fd7\u30fb\u677e\u672c\u5065\u592a\u90ce\u7de8\u300e\u3086\u308b\u30ec\u30dd<\/a>\u300f\u4eba\u6587\u66f8\u9662: 108-111.<\/p>\n\n\n\n

2019. \u201cA Short History of Table-Talk and Live-Action Role-Playing in Japan: Replays and the Horror Genre as Drivers of Popularity<\/a>.\u201d Simulation & Gaming<\/em> 50 (5): 621-44. \u3010\u67fb\u8aad\u3042\u308a\u3011<\/p>\n\n\n\n

2019. \u300c\u30e9\u30a4\u30d6\u30fb\u30a2\u30af\u30b7\u30e7\u30f3\u30fb\u30ed\u30fc\u30eb\u30d7\u30ec\u30a4(LARP)\u3068\u3044\u3046\u610f\u8b58\u5411\u4e0a\u3092\u76ee\u7684\u3068\u3057\u305f\u30b7\u30ea\u30a2\u30b9\u30fb\u30b2\u30fc\u30df\u30f3\u30b0\u65b9\u6cd5:\u300c\u3072\u304d\u3053\u3082\u308a\u300d\u306b\u3064\u3044\u3066\u306eLARP\u3092\u4f8b\u306b<\/a>\u300d\u300e\u4f5c\u696d\u79d1\u5b66\u7814\u7a76\u300f13 (1): 32-44. \u3010\u67fb\u8aad\u3042\u308a\u3011<\/p>\n\n\n\n

2019. \u201cMemento Mori: Die Gro\u00dfen Alten in Japan\u201d [Memento Mori: The Great Old Ones in Japan]. In Rafael Bienia, LARPokalypse<\/a><\/em>. Braunschweig, Zauberfeder: 37-63.<\/p>\n\n\n\n

2019. \u201cAdapting Live-Action Role-Play in Japan: How \u2018German\u2019 Roots Do Not Destine \u2018Japanese\u2019 Routes<\/a>.\u201d Replaying Japan<\/em> 1: 64-78. \u3010\u67fb\u8aad\u3042\u308a\u3011<\/p>\n\n\n\n

2019. \u300c\u2019Nordic Larp\u2019 \u5165\u9580\uff1a\u82b8\u8853\u30fb\u653f\u6cbb\u7684\u306a\u6559\u80b2LARP\u306e\u7406\u8ad6\u3068\u5b9f\u8df5<\/a>\u300d\u300eRPG\u5b66\u7814\u7a76\u300f(0): 5-14. <\/p>\n\n\n\n

2019. \u201cExperience Design for Understanding Social Withdrawal: Employing a Live-Action Role-Play (LARP) to Learn About and Empathize with Hikikomori in Japan<\/a>.” In Neo-Simulation and Gaming toward Active Learning<\/em>, edited by Ryoju Hamada, et al. Singapore, Springer: 387-396.<\/p>\n\n\n\n

2017. \u201cBrokers of \u2018Japaneseness:\u2019 Bringing table-top J-RPGs to the \u2018West\u2019<\/a>.\u201d Mutual Images Journal<\/em> (2): 44-81. \u3010\u67fb\u8aad\u3042\u308a\u3011<\/p>\n\n\n\n

2017. \u201cTranslating Research into Larp: Village, Shelter, Comfort.\u201d In Rafael Bienia, Gerke Schlickmann, LARP: Silberhochzeit<\/a><\/em>. Braunschweig, Zauberfeder: 31-60.<\/p>\n\n\n\n

2017. \u300c\u82b8\u8853\u2022\u653f\u6cbb\u7684\u306a\u6559\u80b2\u30e9\u30fc\u30d7(LARP)\u3068\u2019\u30d6\u30ea\u30fc\u30c9<\/a>\u300d\u4e95\u9580\u6b63\u7f8e\u5c0f\u30fb\u5c71\u7530\u664b\u7de8 \u300e\u793e\u4f1a\u30b7\u30b9\u30c6\u30e0\u30b2\u30fc\u30df\u30f3\u30b0\u300fJASAG: 32-40.<\/p>\n\n\n\n

2016. w\/Becker, Julia. \u201cLive-Action Roleplay; or the Performance of Realities.<\/a>\u201d In Toshiyuki Kaneda, Hidehiko Kanegae, et al. (eds.), Simulation and Gaming in the Network Society<\/em>. Singapore: Springer: 35-51.<\/p>\n\n\n\n

2016. \u201cCross-Gender Table-Talk-RPG auf Japanisch; oder, die beil\u00e4ufigen Realit\u00e4ten des Tischrollenspiels<\/a>\u201d [Cross-Gender Table-Talk-RPG in Japanese; or, the Collateral Realities of Table-Top Roleplaying]. In: Michiko Mae, Elsibaeth Scherer, Katharina H\u00fclsmann (eds.), Japanische Popul\u00e4rkultur und Gender<\/em>. Wiesbaden, VS: 273-303.<\/p>\n\n\n\n

2015. \u201cDie Kraft von nur 100 Yen: Larp in Japan\u201c [The Power of just 100 Yen: Larp in Japan]. In Rafel Bienia, Gerke Schlickmann, LARP: Zeug<\/a><\/em>. Braunschweig, Zauberfeder: 17-32.<\/p>\n\n\n\n

2013. \u201c\u2019Rotten\u2019 Use Patterns: What Entertainment Theories Can Do for the Study of Boys’ Love<\/a>.\u201d In \u201cTransnational Boys’ Love Fan Studies,\u201d Transformative Works and Cultures<\/em> (12). \u3010\u67fb\u8aad\u3042\u308a\u3011<\/p>\n\n\n\n

2013. \u201cEthics of Internet-based Research on Japanese Subcultures<\/a>.\u201d In Asato, Wako and Yoko Sakai, Social Innovation and Sustainability for the Future<\/em>. Kyoto, Nakanishi, pp. 525-540.<\/p>\n\n\n\n

2012. \u201cVielf\u00e4ltig und Hybrid \u2013 Der Manga-Diskurs in Japan\u201d [Diverse and Hybrid \u2013 The Manga Discourse in Japan]. In: JuLit 1\/12<\/a> \u201cComic \u2013 Manga \u2013 Graphic Novel. Aktuelle Tendenzen in der graphischen Literatur f\u00fcr Kinder & Jugendliche<\/em>:\u201d 35-40.<\/p>\n\n\n\n

2011. \u201cWhy Japan does not Larp<\/a>.\u201d In: Thomas Duus Henriksen, et al. Think larp. Academic Writings from KP2011<\/a><\/em>. Kopenhagen: Rollespilsakademiet, pp. 52-69.<\/p>\n\n\n\n

2008. \u201cMediale Kultivierungseffekte: Der Gay-Boom der 1990er Jahre in Japan\u201d [Media Cultivation: Japan\u2019s Gay Boom of the 90s]. In: Bochumer Jahrbuch zur Ostasienforschung<\/a><\/em> (BJOAF), Vol. 32: 95-114.<\/p>\n\n\n\n

\u66f8\u8a55<\/h4>\n\n\n\n

2019. \u201cThe End of Cool Japan: Ethical, Legal, and Cultural Challenges to Japanese Popular Culture ed. by Mark McLelland<\/a>.\u201d The Journal of Japanese Studies<\/em> 45 (1): 129\u2013134.<\/p>\n\n\n\n

2019. \u201cAtari to Zelda: Japan\u2019s Videogames in Global Context by Mia Consalvo<\/a>.\u201d Social Science Japan Journal<\/em> 22 (2): 335-338.<\/p>\n\n\n\n

\u53e3\u982d\u767a\u8868<\/h4>\n\n\n