著者

吉田 寛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.25-36, 2010

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Scholars in many disciplines have talked about the "hegemony of vision" in the modern Western culture and philosophy. We also know that the most critical issue of modern philosophy of perception had been the compatibility between vision and touch, as viewed in the prolonged discussion of Molyneux's Question. But, on the contrary, we know very little about the significance of audition and hearing in the tradition of modern philosophy. This paper is thus intended as a historical sketch of the status of hearing, examining the texts of three philosophers. For Herder, the ear is the most nearest sense to the soul, and the audition stands in the middle of our five senses, dominating the others. But, at the same time, he also attaches great importance to touch, inheriting the tradition of Molyneux's Question, and therefore presupposes a kinship between hearing and touch. Kant exiles the ear from his conception of the critique of judgment, preferring the eye as a normative sense for disinterested and formal judgment. But he emphasizes a moral function of the ear in his critique of practical reason, as an organ hearing the voice of reason, i.e. the divine voice. The ear, finally, gains a definitive advantage over the eye with Hegel. He describes the progress of Romantic art from painting to music as a process of the "negation of dimension." In his view, time is negation (or sublation) form of space, and equally the audition is that of vision. We can say therefore that the hypothetical "hegemony of vision" was never stable, and the status of seeing has always been challenged and undermined by the hearing in the course of modern philosophy.

著者

吉田 寛

出版者

九州大学

雑誌

若手研究(B)

巻号頁・発行日

2009

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相互作用付リンデンマイヤ・システム上で多細胞の発展モデルを構築した。記号計算を用いて、細胞タイプの多様性とタイプ比の関係式を導出し、それが楕円曲線とフィボナッチ数に関係する曲線で表現されることが分かった。更に、より分子レベルに立脚したDachsous : Fatヘテロダイマーモデルを構築して、素イデアル分解を用いて、細胞鎖が再生する条件を導出した。これらの事から、多細胞の成立する条件:多様性と再生の条件が得られた。

著者

吉田 寛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.2, pp.15-28, 2006

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The aim of this paper is to examine the history of the "art competitions" in the modern Olympics, and thus to cast a new light on the boundary problem between art and sport. Pierre de Coubertin, the principal founder of the modern Olympics, held up an ideal of reunification of muscle and mind, and proposed to introduce five art competitions -in architecture, sculpture, painting, music and literature- within the course of the Olympic games. Then "art competitions" were successfully held in seven Olympiads from 1912 to 1948; but they were replaced by "art exhibitions" without medals from the Helsinki Olympics (1952) onward. In spite of Courbertin's personal enthusiasm for art, some of the IOC members remained skeptical of the art competitions, mainly because they seemed incompatible with the amateurism policy of the Olympics: participants therein were professional artists in most cases, and the prizewinning artworks were often traded openly at high prices. Added to this issue, art was condemned for lack of the qualification to rank with the Olympic sports, from the viewpoints that it has no uniform rules and no clear criteria for evaluation like athletic games, and that prizewinning artists are in general much older as compared to athletes, violating the Olympic ideal of "youthfulness." The introduction and abolition of the Olympic art competitions thus suggests the fundamental discrepancy in cultural and social status between art and sport, while our attention is too often directed merely to their alikeness or affinity.

著者

伊豆津 健一 阿部 康弘 栗田 麻里 吉田 寛幸

出版者

公益社団法人 日本薬学会

雑誌

YAKUGAKU ZASSHI (ISSN:00316903)

巻号頁・発行日

vol.143, no.2, pp.139-152, 2023-02-01 (Released:2023-02-01)

参考文献数

78

被引用文献数

4

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Several good manufacturing practice (GMP) compliance issues and their associated quality problems that have been revealed since 2020 have led to large-scale recalls and supply suspensions of drug products in Japan. This paper provides an overview of the causes and countermeasures for supply disruptions of low-molecular-weight chemical pharmaceutical agents, focusing on quality-related issues. A recent increase in the use of generic drugs emphasized the importance of strengthening active pharmaceutical ingredient (API) supply chains and ensuring GMP compliance among drug manufacturers. In addition, increasing recalls in the drug products of certain marketing authorization holders due to storage stability problems strongly suggests the need to improve their development process considerably. Other measures to stabilize the supply of pharmaceuticals, including increasing stockpiles of APIs, were also discussed.

著者

吉田 寛

出版者

The Society for Research in Asiatic Music (Toyo Ongaku Gakkai, TOG)

雑誌

東洋音楽研究 (ISSN:00393851)

巻号頁・発行日

vol.2001, no.66, pp.17-36,L3, 2001-08-20 (Released:2010-02-25)

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Kozu Senzaburo (1852-97) is known as one of the central figures of Ongaku-torishirabe-gakari (Institute of Music) in Tokyo, and also famous for his major writing, Ongaku-no-rigai (Interests of Music), which has been recognized as one of the earliest works of modern Japanese musicology. Quoting no less than four hundred and fifty documents, ranging from time-honored Japanese and Chinese books to the newest Western writings, this compilation shows us plenty of musical anecdotes and episodes taken from various places and periods in the world. Arguing fully the influences and effects of music on human nature, it established a solid basis in theory for the educational policies of the Institute. Although this writing has been examined within the cultural contexts in Japan and Asia, few scholars have argued it in relation to the Western musical thoughts. This article examines the following: (1) the sorts of Western documents Kozu quoted, (2) the reasons for his selection, and (3) the ways in which he appropriated them for his own purpose.Born in Shinano, young Kozu cultivated himself within the circumstances of the Confucian tradition. He went up to Tokyo in 1869 and then studied English at private schools. When the new government determined to send young talents abroad to survey the educational systems in the modern nations, he was selected as one of members sent to the United States. Kozu seems to have been a student of the New York State Normal School at Albany from 1875 to 1877. There he learned the modern methods of artistic education such as vocal music and drawing, and gained knowledge of contemporary Western literatures on music, especially by British and American writers, and therefore established his own view on music, chiefly based on theories of music education in America (L. Mason), anthropology (Ch. Darwin) and comparative musicology (C. Engel and A. J. Ellis) in England. He is distinguished from the twentieth-century Japanese musicologists, who were mostly attracted by the German aesthetics of music.Kozu's view on music fostered in his Albany years had a definitive effect on the policy of Torishirabe-gakari and subsequent music education in modern Japan. In 1881, he was appointed to one of the supervisors of Torishirabe-gakari, founded two years before. At the Institute, he taught English, translated foreign books on musical grammar and harmony and gave lectures on music theory and history. His first theoretical work appeared in Ongaku-torishirabe-seiseki-shinposho (Report on the Result of the Investigations Concerning Music), which is a collaborative work with Izawa Shuji, the head director of the Institute. It includes “Ongaku-enkaku-taiko (Outlines on the History of Music)” and “Meiji-sho-sentei-no-koto (On the Selection of National Anthem for the Meiji Era)”, both of which are brief but comprehensive. In the former the author argues, chiefly referring to C. Engel's An Introduction to the Study of National Music (1866), that the Western diatonic scale and the Eastern pentatonic scale both originate in the pentatonic scale of Ancient India, as the Indo-European languages do, and emphasizes that the effect and interests of music has universal values. Here, however, he altered Engel's original arguments to accommodate them into the so-called “eclectic” policy of the Institute. In the latter essay, while summarizing the history of national anthems in European countries, Kozu examines how we can make an effective song that attracts people's attention and make their temperament obedient to the government. This report can be regarded as an important step to his more elaborate plan of Rigai.Ongaku-no-rigai (1891) consists of three parts with twenty-four volumes and three hundred fifty chapters. Each part shows, from the beginning, “Music and People, ” “Music and National Government” and

著者

室井 尚 佐藤 守弘 吉田 寛 吉岡 洋 秋庭 史典 島本 浣 安田 昌弘 小松 正史 吉村 和真 前川 修 大久保 美紀 丸山 美佳

出版者

横浜国立大学

雑誌

基盤研究(A)

巻号頁・発行日

2013-10-21

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本研究は5名の研究代表者、分担者を中心とした研究会を複数回開催するとともに、大規模な公開研究集会を年に一回開催し、その成果を映像記録や報告書にまとめることによって、一般からもその成果に対する広い関心を集めることができた。最終年度には報告書として論文集を公刊した。また2014年の国際記号学会においてはラウンドテーブルを組織して、海外の研究者との議論を深めることができた。これらの研究活動によって新しい理論的な枠組の構築に結びつけることができた。本研究はポピュラー文化に関する美学的アプローチの最先端の成果を挙げることができた。

著者

吉田 寛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.57, no.2, pp.15-28, 2006-09-30 (Released:2017-05-22)

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The aim of this paper is to examine the history of the "art competitions" in the modern Olympics, and thus to cast a new light on the boundary problem between art and sport. Pierre de Coubertin, the principal founder of the modern Olympics, held up an ideal of reunification of muscle and mind, and proposed to introduce five art competitions -in architecture, sculpture, painting, music and literature- within the course of the Olympic games. Then "art competitions" were successfully held in seven Olympiads from 1912 to 1948; but they were replaced by "art exhibitions" without medals from the Helsinki Olympics (1952) onward. In spite of Courbertin's personal enthusiasm for art, some of the IOC members remained skeptical of the art competitions, mainly because they seemed incompatible with the amateurism policy of the Olympics: participants therein were professional artists in most cases, and the prizewinning artworks were often traded openly at high prices. Added to this issue, art was condemned for lack of the qualification to rank with the Olympic sports, from the viewpoints that it has no uniform rules and no clear criteria for evaluation like athletic games, and that prizewinning artists are in general much older as compared to athletes, violating the Olympic ideal of "youthfulness." The introduction and abolition of the Olympic art competitions thus suggests the fundamental discrepancy in cultural and social status between art and sport, while our attention is too often directed merely to their alikeness or affinity.

著者

吉田 寛

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.1, pp.25-36, 2010-06-30 (Released:2017-05-22)

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Scholars in many disciplines have talked about the "hegemony of vision" in the modern Western culture and philosophy. We also know that the most critical issue of modern philosophy of perception had been the compatibility between vision and touch, as viewed in the prolonged discussion of Molyneux's Question. But, on the contrary, we know very little about the significance of audition and hearing in the tradition of modern philosophy. This paper is thus intended as a historical sketch of the status of hearing, examining the texts of three philosophers. For Herder, the ear is the most nearest sense to the soul, and the audition stands in the middle of our five senses, dominating the others. But, at the same time, he also attaches great importance to touch, inheriting the tradition of Molyneux's Question, and therefore presupposes a kinship between hearing and touch. Kant exiles the ear from his conception of the critique of judgment, preferring the eye as a normative sense for disinterested and formal judgment. But he emphasizes a moral function of the ear in his critique of practical reason, as an organ hearing the voice of reason, i.e. the divine voice. The ear, finally, gains a definitive advantage over the eye with Hegel. He describes the progress of Romantic art from painting to music as a process of the "negation of dimension." In his view, time is negation (or sublation) form of space, and equally the audition is that of vision. We can say therefore that the hypothetical "hegemony of vision" was never stable, and the status of seeing has always been challenged and undermined by the hearing in the course of modern philosophy.

著者

吉田 寛

出版者

神戸大学

雑誌

美学芸術学論集 (ISSN:18801943)

巻号頁・発行日

no.7, pp.31-49, 2011

著者

吉田 寛

出版者

京都大学大学院文学研究科哲学研究室

雑誌

京都大学文学部哲学研究室紀要 : Prospectus

巻号頁・発行日

vol.4, pp.76-90, 2001-12-01

著者

吉田 寛

出版者

京都大学

雑誌

京都大学文学部哲学研究室紀要 : Prospectus

巻号頁・発行日

vol.4, pp.76-90, 2001-12-01

著者

吉田 寛

出版者

音楽之友社

雑誌

レコ-ド芸術 (ISSN:02893614)

巻号頁・発行日

vol.60, no.7, pp.290-293, 2011-07

著者

佐竹 靖 加々見 良 河本 大地 吉田 寛

出版者

奈良教育大学ESD・SDGsセンター

雑誌

ESD・SDGsセンター研究紀要 = Bulletin of Center for ESD and SDGs (ISSN:27585948)

巻号頁・発行日

vol.1, pp.41-50, 2023-03-31

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本研究は、奈良教育大学附属中学校における「1・2年合同奈良めぐり」において、菩提川(率川)流域から学ぶ ESD 実践を構想し、実践の結果生じた生徒の変容からその効果を明らかにすることを目的としている。また、ESD で重視されるシステム思考を、中学校の実践に落とし込み、そのあり方や有効性についても考察する。本実践のねらいは、多様な視点から川の役割や人との関わりについて読み解き、持続可能な川のあり方や関わりについて自分事に引き 寄せて考えることで、流域の社会変容にせまる自己変容を促すことにある。実践の結果、生徒の流域に対する価値観の変容が引き起こされ、流域の持つ地域課題について自分事に引き寄せて思考することができた。

著者

吉田 寛 田中 忠夫

出版者

公益社団法人精密工学会

雑誌

精密工学会誌 (ISSN:09120289)

巻号頁・発行日

vol.55, no.5, pp.810-813, 1989

著者

吉田 寛

出版者

東京大学大学院人文社会系研究科・文学部美学芸術学研究室

雑誌

美学藝術学研究 (ISSN:13426095)

巻号頁・発行日

no.20, pp.155-191, 2002-03-29

著者

吉田 寛 田中 忠夫

出版者

公益社団法人 精密工学会

雑誌

精密工学会誌 (ISSN:09120289)

巻号頁・発行日

vol.55, no.5, pp.810-813, 1989-04-05 (Released:2009-10-08)

参考文献数

4

著者

吉田 寛

出版者

京都大学大学院文学研究科哲学研究室

雑誌

京都大学文学部哲学研究室紀要 : Prospectus

巻号頁・発行日

vol.5, pp.40-43, 2002-12-01

著者

岩崎 豪人 久米 暁 吉田 寛

出版者

京都大学大学院文学研究科哲学研究室

雑誌

京都大学文学部哲学研究室紀要 : Prospectus

巻号頁・発行日

vol.5, pp.47-50, 2002-12-01

著者

岡田 安功 吉田 寛 田中 柊子 中尾 健二 原田 伸一朗

出版者

静岡大学

雑誌

静岡大学情報学研究 (ISSN:13420909)

巻号頁・発行日

vol.18, 2012

著者

中村 基一 河本 大地 相生 真志 吉田 寛

出版者

奈良教育大学ESD・SDGsセンター

雑誌

ESD・SDGsセンター研究紀要 = Bulletin of Center for ESD and SDGs (ISSN:27585948)

巻号頁・発行日

vol.1, pp.97-102, 2023-03-31

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吉野林業は日本有数の木の産地として知名度が非常に高いが、原料供給の川上部分だけがクローズアップされ、 原木市場などの流通や製材業、木材製品の流通・販売業者などの川中部分に着目されることは少ない。そこで、本実践 においては黒滝村における川中の分野を取り上げる。原木を加工して、付加価値を加えていく過程を生徒に体験させた り、現地の人々の話を聞いたりすることで、地域教材として作り上げることができると考える。また、コロナ禍の影響 やウクライナ情勢、持続可能な社会を創るためにも、国産材に注目が集まっている。経済性を重視するあまり、安い外国産材や大規模工場での加工などに偏り、地域から持続可能な産業が消滅しつつある。そうした課題を克服し、今後も森の資源をさらに活用するためにはどのように行動すればよいか、考えさせたい。