Dynamics of Culture: A Comparative-Historical Study of Social Movement Culture in Japan

为什么没有武器或必要资源的弱者站出来反抗政治强者，即使成功的希望微乎其微？本研究着眼于抗战的“文化”，旨在回答这一问题。本研究从两个不同的焦点入手，定位抗战群体文化中的抗争来源：对19世纪中叶日本新州下莫纳农民抗战的理论探讨和理论意义的实证检验。理论研究发现：(1)在日常文化中，存在着可以使抵抗合理化和合法化的思维方式或概念和指称。这些参照物往往隐藏在常识性活动或日常生活的规范性规则后面。(2)这些概念和参照物通过表演、表演和舞蹈等大众娱乐活动传递到当地。下莫纳农民抵抗运动被用来检验这些理论发现的正确性。(3)下莫纳农民在反抗统治阶级时，根据地主给农民的“仁爱”而使他们的行为合法化。换句话说，缺乏仁爱成为反抗的合法来源。(4)这种仁爱的概念是通过“稻中歌舞伎”和“宁约木偶表演”传入这一地区的，这两种表演都是农民的日常娱乐。

Why do the weak, who do not have weapons or necessary resources, stand up and stage resistance against the politically strong even with little hope of success? This research, focusing on the "culture" of resistance, aims to answer this question.This research, locating the sources of the resistance in the culture of the resistant group in question, proceeds with two different foci: a theoretical inquiry and empirical examination of theoretical implications using peasant resistance in mid 19^<th> century Shimoina, Shinshu in Japan. Theoretical investigation resulted in several findings.(1)In everyday culture, there exist ways of thinking, or concepts and referent that can rationalize and legitimize resistance. Often these referents are hidden behind commonsensical activities, or the normative regulations of everyday life.(2)Such concepts and referent has been carried over to the locality through popular amusement activities, such as performance, show, and dancing.Shimoina peasant resistance was employed to examine the validity of these theoretical findings.(3)Shimoina peasant, when rose against the ruling class, legitimized their action on the basis of "benevolence" purported to be given to the peasants by the lord. In other words, lack of benevolence became the legitimizing source of resistance.(4)This concept of benevolence had been brought in to this region through "Inaka Kabuki (local Kabuki performance)" and "Ningyo Shibai (Puppet show)," both of which were everyday entertainments for peasants.