In this chapter, the authors showed that eyeblink synchronization enables researchers to investigate the appeal power of narrative performance empirically. The proposed method relies on the ability of audience members as epistemic agents to recognize and understand the performance. As spontaneous eyeblinks loosely co-vary with individual's allocation and release of attentions, the timings of eyeblinks could be entrained by the details of narrative performances as the common inputs. Thus, the standard basis accumulated by the collective eyeblink responses enables experimenter to judge whether or not a particular performance contains universal appeal to sense-making. Here, the authors introduced that the empirical studies to assess the appeal power of Rakugo (a traditional narrative performance). An expert artist, compared to a novice performer, created implicit breakpoints on participants' attentional process. It were discussed that the applicable scopes of the eyeblink relevant indices, upcoming research on eyeblink synchronization, and new research on human collective behaviors.

Whereas the entrainment of movements and aspirations among audience members has been known as a basis of collective excitement in the theater, the role of the entrainment of cognitive processes among audience members is still unclear. In the current study, temporal patterns of the audience's attention were observed using eyeblink responses. To determine the effect of interactions among audience members on cognitive entrainment, as well as its direction (attractive or repulsive), the eyeblink synchronization of the following two groups were compared: (1) the experimental condition, where the audience members (seven frequent viewers and seven first-time viewers) viewed live performances in situ, and (2) the control condition, where the audience members (15 frequent viewers and 15 first-time viewers) viewed videotaped performances in individual experimental settings (results reported in previous study.) The results of this study demonstrated that the mean values of a measure of asynchrony (i.e., D-interval) were much lower for the experimental condition than for the control condition. Frequent viewers had a moderate attractive effect that increased as the story progressed, while a strong attractive effect was observed throughout the story for first-time viewers. The attractive effect of interactions among a group of spectators was discussed from the viewpoint of cognitive and somatic entrainment in live performances.

世界観は，いわば見たり，気づいたり，体験したりすることの一形式として，個々の体系の背後にある（中略)それゆえ，すべての世界観は，ある態度の表現であり，器官であり，現実に対する意識のある側面の表現である．われわれが純粋に自然を探究するという態度を取り，したがって，われわれが感覚的に経験し，悟性的に結びつける場合には，実証主義がある．客観的観念論の意味では，われわれは観想的な態度をとる．われわれが行為的な態度をとる場合，自由の観念論がそれにふさわしい体系である．ここから以下のことが明らかになる．すなわち，現実は多面的なものであって，それはさまざまな世界観によっては一面的にしか表現されないと私は主張する．複数の世界観の中で表現されているのは，生そのものの多面性である．さらに，ここから明らかになることは，現実の客観的関連を認識すると主張する形而上学的体系は，厳密な学的妥当性を要求することはできないということである．

Changing self-efficacy is important for clinical support. Nonetheless, the past studies on self-efficacy do not explain (1) taking actions with low self-efficacy, (2) process of self-efficacy promotion, or (3) process of self-efficacy declination. To solve these issues, we proposed "Perspective Self-efficacy", which includes ambiguous expectations that the future self can be positively changed. Perspective self-efficacy refers to ambiguous feelings that the self, as future prospects, can affect and control others and situations, detaching from the current self. By viewing the present self from future-perspective self, perspective self-efficacy makes it possible to take different actions from what is motivated only by the present situations. Also, being detached from the present self, can perspective self efficacy facilitate taking actions and positive operations of information resources, even when self-efficacy is currently low. Thus, perspective self-efficacy can explain the change of self-efficacy, and be useful for clinical support.

本研究の目的は、小学生の"笑われることに対する怖れ"の程度を測定する小学生版J-GELOPH〈6〉を作成し、尺度の信頼性・妥当性を検討することである。小学4年生から6年生までの710名を対象に、GELOPH〈15〉ならびにJ-GELOPH〈15〉に共通して含まれており、かつ、社会的恐怖の診断基準にしたがって選んだ6項目に回答を求めた。その結果、尺度は十分な信頼性を備えていることが示された。また、本邦では他諸国に比べ"笑われることに対する怖れ"の平均値が高いことが示された。これは、成人を対象にした調査とも一致するものであり、文化的な差を示しているものと考えられる。また、小学生版J-GELOPH〈6〉と共感性尺度、向社会的行動尺度との相関係数は、本邦の"察する"文化を前提にすれば理論的に整合するものであり、尺度に妥当性があることが示唆された。今後の研究では、小学生版J-GELOPH〈6〉を用いて、個人特性や環境要因に潜む「笑われ恐怖症」に至るリスクを検討していく必要がある。

本研究の目的は、自然言語処理技術を援用して、熟達した噺家の語りに<核>として現れる中心的な概念を明らかにすることである。インタビューの逐語記録(芸談)をデータとし、複数の語が同一の文に同時に含まれるという共起情報を利用して、語によって表現される信念どうしの相互関係を推定し、信念地図を作成した。この手法は、先入観によるバイアスや見落としの危険性を低減させ、噺家の信念地図の時系列的な変化や師匠と弟子とのあいだの信念地図の類似性を客観的・定量的に検討することを可能にするものである。

A prerecorded humorous performance was presented to female graduate students (N=13) approximately 4 minutes. The relationship between the real-time rating scores of conscious humor experience (Subjective Rating Score, SRS) ant the ex-post evaluated scores of participants'facial expression (Smile and Laughter Score, SLS) was assessed quantitatively. Cross (i.e. time-lagged) correlation coefficients showed that SLS preceded SRS approximately 2 second. Besides, wavelet cross spectrum analysis demonstrated strong cohesion between SRS and SLS in time-scale domain. These results were discussed from the view point of temporal change in emotional experience.

According to qualitative research, a coordinated motion between a performer and audiences in vaudeville is considered a possible indicator to examine resonance that reflects thought stream of each audience. To quantitatively identify the coordinated motion, this study explored two methods of analyzing cross spectrum data; 1) Wavelet Transform (WT) and 2) Fourier Transform (FT). The sensitivity of both WT and FT was examined using Janken tasks (Japanese version of paper-scissors-stone) with three different conditions; 1) win by original rules, 2) win by delayed showing, and 3) lose by delayed showing. Sixteen graduate students (11 males and 5 females) were asked to play Janken with an experimenter 10 times in each task. The cross spectra were calculated with angular velocity of wrist motion. Results showed that compared with FT, WT was able to identify more differences between tasks in terms of degrees and aspects of the coordinated motion, reflecting its wide-area resolution. Thus, WT would be an advantageous tool for analyzing the coordinated motion in vaudeville settings.