著者

柳澤 悠 井上 貴子 杉本 良男 杉本 星子 粟屋 利江 井上 貴子 杉本 良男 杉本 星子 粟屋 利江

出版者

千葉大学

雑誌

基盤研究(B)

巻号頁・発行日

2007

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本研究は、耐久消費財の浸透など消費パターンの変化が、インド農村の下層階層においても生じていること、変化は単なる物的な消費財の面に限らず、教育、宗教活動などに広がっていること、消費の変化は階層関係など社会関係の変容や下層階層の自立化によって促進されていること、またその変動は1950-60年代から徐々に生じていると推定されること、農村消費の変化が産業へ影響を及ぼしていることなどを、明らかにした。

著者

井上 貴子

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.1997, no.62, pp.21-38,L2, 1997-08-20 (Released:2010-02-25)

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The purpose of this paper is to explore how one can apply the recent advances in gender theory to musicology, concentrating on concerns about feminist criticism and the historicizing of gender. I will use the post-structuralistic concept of gender, because I believe that this is a rigorous approach to theorizing gender and most effectively avoids ghettoization. This approach also transcends historical periods, areas and genre boundaries.Gender theory has been the most important concept for feminists, rallying many people to join the debate. Feminists have asserted that the subjective identity of men/women is a social and cultural construction. The wide acceptance of this conceptualization, however, has led to social and cultural determinism: producing descriptive accounts of gender roles as a static dichotomic order ruled by the inherent logic of a certain society or period, supporting the idea of cultural relativism. In the case of musicology, feminist musicologists who attempted to reestablish women as the subject, have discovered women composers and musicians who have been ignored or concealed by leading musicologists. It is at this moment important that women studies are not relegated to a marginal and supplemental sphere which would serve to reify the existing belief of unequal gender relations based on biological differences.To surmount such a static dichotomy, the strategic theory must be made based on the issues raised by feminism. In the larger field of art, linguistic and visual representations such as literatures, paintings, films, performances and so on, which can give concrete images of women, have drawn attention, but music has received much less. This might be due to the existence of strong belief in the autonomy of music because of the lack of concreteness in sound. Recent studies, however, have made it clear that music, which has been the last stronghold of autonomous art, is greatly influenced by ideologies and the larger societies. Without dispelling such a belief and recognizing the politics of art —any type of power related to the construction and practice of meanings in a society—, gender theory can not be effectively applied to musicology.In an important development, feminist criticism has been applied to music. The most specific feature of musicology might be the ability of analyzing musical sound itself as well as notations, visualized texts of music. Feminist music criticism tries to explicate how meanings of musical sound are constructed: the process of articulating musical discourses through gendered discourses. Susan McCraly, the most well-known musicologist in this field, starts by rejecting the idea of autonomous art and then tries to bring to light the idea that music and its processes operate within the larger political arena. She analyzes not only worded music such as opera but also absolute music.We should recognize gender issues raised by feminists are related to men as well as women: men as the transcendental or universal subject in a patriarchal society now become the mere male subject. Gender music criticism including feminist music criticism, has already started to be developed.History of women apparently seems to acquire a certain status, considering the numerous books and articles that have been recently published. Have the leading historians indeed neglected it as having nothing to do with economic and political history? Such a phenomenon is called ghettoization. As a strategy for surmounting this, the theory submitted by Joan W. Scott has inspired many scholars. She regards the historicizing of gender as the explicating the ways of producing the meanings of gender in different contexts; the exposing the concealed power relation through paying attention to the politics of constructing meanings.When her theory is applied to writing history of music,

著者

井上 泰輔 井出 達也 内田 義人 小川 浩司 井上 貴子 末次 淳 池上 正 瀬戸山 博子 井上 淳 柿崎 暁 榎本 大 立木 佐知子 遠藤 美月 永田 賢治 是永 匡紹

出版者

一般社団法人 日本肝臓学会

雑誌

肝臓 (ISSN:04514203)

巻号頁・発行日

vol.64, no.12, pp.649-652, 2023-12-01 (Released:2023-12-11)

参考文献数

5

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This study was conducted in 2021, wherein we investigated in-hospital measures for patients positive for hepatitis virus in 288 hospitals specializing in liver diseases in 13 Japanese prefectures. Our results showed that even at specialty hospitals, the overall countermeasure implementation rate was low (56%). The rate was higher in hospitals that had a higher bed capacity (>400), more full-time hepatologists, and more hepatitis medical care coordinators. Of these three factors, implementation rate was most influenced by coordinator enrollment, with highest involvement by clinical laboratory technologists. Therefore, clinical laboratory technologists should be trained to improve countermeasure rates for both treatment of liver disease and safety management in hospitals. Furthermore, the improvement in the implementation rate of measures for patients positive for hepatitis virus will help in providing better treatment.

著者

大根 久美子 可児 里美 北村 由之 鷺 陽香 金子 敦 大橋 実 菊池 祥平 田中 靖人 井上 貴子

出版者

一般社団法人 日本肝臓学会

雑誌

肝臓 (ISSN:04514203)

巻号頁・発行日

vol.64, no.12, pp.656-659, 2023-12-01 (Released:2023-12-11)

参考文献数

1

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We developed and reported a fully automated, high-sensitivity hepatitis B core-related antigen assay (iTACT-HBcrAg). This study aimed to evaluate the impact of carryover during the use of iTACT-HBcrAg by analyzing samples with high HBcrAg levels. A negative sample tested immediately after a sample with an HBcrAg of 8.7 LogU/mL showed an HBcrAg of 2.4 LogU/mL, thus confirming carryover. The sample with an HBcrAg of 8.8 LogU/mL and collection tubes containing the negative samples were continuously opened to check for the effects of sample splashing and aerosols. The results showed that sample splashing and aerosols did not account for the carryover. The iTACT-HBcrAg is a highly sensitive assay; therefore, carryover can occur when magnetic particle-antigen complexes are introduced into the next sample via the BF wash nozzle. Any sample determined to be positive for HBcrAg after the testing of a sample with an HBcrAg above the measurement range should be retested for confirmation.

著者

廣田 健一 井上 貴子 小川 浩司 荒生 祥尚 遠藤 美月 池上 正 戸島 洋貴 末次 淳 柿崎 暁 瀬戸山 博子 榎本 大 是永 匡紹

出版者

一般社団法人 日本肝臓学会

雑誌

肝臓 (ISSN:04514203)

巻号頁・発行日

vol.64, no.11, pp.587-589, 2023-11-01 (Released:2023-11-10)

参考文献数

3

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In eight regional core centers for liver disease management, we evaluated the status of HBs antigen (HBsAg) and anti-hepatitis C virus antibody (anti-HCV) testing from 2016 to 2020. Among nonhepatology departments, ophthalmology had the highest number of HBsAg and anti-HCV tests, followed by obstetrics and gynecology, and orthopedics. The highest positive rates of HBsAg were in orthopedics (1.27%), gastroenterological surgery (1.23%), and ophthalmology (1.04%), and those of anti-HCV were in gastroenterological surgery (2.71%), orthopedics (2.57%), and ophthalmology (2.51%). Thus, ophthalmology and orthopedics obtained the highest number of tests and positive rates, with no rate decrease over time. While the Japan Ophthalmologists Association has already commercialized measures against hepatitis, similar measures are needed urgently in orthopedics.

著者

磯田 広史 榎本 大 高橋 宏和 大野 高嗣 井上 泰輔 池上 正 井出 達也 德本 良雄 小川 浩司 瀬戸山 博子 内田 義人 橋本 まさみ 廣田 健一 柿崎 暁 立木 佐知子 井上 貴子 遠藤 美月 島上 哲朗 荒生 祥尚 井上 淳 末次 淳 永田 賢治 是永 匡紹

出版者

一般社団法人 日本肝臓学会

雑誌

肝臓 (ISSN:04514203)

巻号頁・発行日

vol.64, no.10, pp.510-513, 2023-10-01 (Released:2023-10-12)

参考文献数

5

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Hepatitis medical care coordinators (HMCCs) in Japan are trained by local governments and regional core centers, and are expected to play an active role in various aspects of hepatitis countermeasures. A 2019 survey revealed varied activity statuses of HMCCs among facilities. This study surveyed the present status of HMCCs in 21 of the 72 regional core centers in the fiscal year 2021.A total of 951 HMCCs were trained at these 21 facilities. The 17 participating centers of the 2019 survey indicated a slight increase in the proportion of HMCCs who actively contributed to hepatitis patient care, from 84.2% to 85.8%.Despite the COVID-19 pandemic, HMCCs remained active in many facilities.

著者

井上 貴子

出版者

JAPAN ASSOCIATION OF INTERNATIONAL RELATIONS

雑誌

国際政治 (ISSN:04542215)

巻号頁・発行日

no.127, pp.169-184,L18, 2001

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Television viewing has become a part of everyday life in India since the early 1990s. The development of mass media has made new patriotism pervasive in the popular culture of India. It is quite usual that political parties appropriate popular culture for legitimizing their ideology. I especially focus on the video clip shot by G. Bharat, a commercial film producer for the album <i>Vande Mataram</i> (Mother, I salute you) by A. R. Rahman, a popular musician, released in 1997 to celebrate India's fifty years of independence.<br><i>Vande Mataram</i> composed by a Bengali poet, Bankimchandra Chatterjee was first set to music and sung by Rabindranath Tagore at the 1896 session of the Indian National Congress. The song became a symbol of patriotism during the Swadeshi movement opposed to the partition of Bengal in 1905, though it caused the communal tension between Hindus and Muslims during the freedom struggle, as it was anti-Muslim in its content and context.<br>The video clip of <i>Vande Mataram</i> revived in a new version made patriotism the popular boom in spite of heavy criticism. Patriotism described in the video clip is love of Mother India, a country of "Unity in Diversity", where the diverse people live happily and tradition and modernity coexist. This concept totally agrees with the program code of laws relating to broadcasting, which made the video clip possible to be broadcast widely.<br>Bharatiya Janata Party appropriated this boom. The Uttar Pradesh Government tried to make the singing of <i>Vande Mataram</i> in schools, the meetings for mourning victims of Kargil War were held all over the country, and the Millennium Vande Mataram Campaign was launched for arousing patriotism among the youth. These events reminded them of the national enthusiasm for calling for freedom though it caused communal tension and was criticized bitterly.<br>Those who belong to the urban middle class of Chennai in Tamil Nadu, Rahman and Bharat's native city, have well accepted the new patriotism according to my survey. The result shows that the difference of social background little affects their perception. Though caste and gender difference cannnot be recognized, the elder generation, non-Hindu and non-Tamil, are somewhat more critical of the new patriotism. Tamil Hindus seem no longer to be satisfied with Tamil Nationalism propelled by regional parties but to identify themselves with the Nation of India.<br>This phenomenon is a reaction to globalization. Both anti-globalization and yeaning for American culture in producers' mind crystallized as a new patriotic music. Though its description of India suggests no border and enemy, anti-globalization is often expressed by the hostility to neighbors. That is why BJP can easily appropriate this boom for legitimizing their ideology and policy based on anti-Pakistan and anti-Muslim themes.

著者

井上 貴子

出版者

公益財団法人 史学会

雑誌

史学雑誌 (ISSN:00182478)

巻号頁・発行日

vol.107, no.12, pp.2157, 1998-12-20 (Released:2017-11-30)

著者

井上 貴子

出版者

社団法人 東洋音楽学会

雑誌

東洋音楽研究 (ISSN:00393851)

巻号頁・発行日

vol.1997, no.62, pp.21-38,L2, 1997

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The purpose of this paper is to explore how one can apply the recent advances in gender theory to musicology, concentrating on concerns about feminist criticism and the historicizing of gender. I will use the post-structuralistic concept of gender, because I believe that this is a rigorous approach to theorizing gender and most effectively avoids <i>ghettoization</i>. This approach also transcends historical periods, areas and genre boundaries.<br>Gender theory has been the most important concept for feminists, rallying many people to join the debate. Feminists have asserted that the subjective identity of men/women is a social and cultural construction. The wide acceptance of this conceptualization, however, has led to social and cultural determinism: producing descriptive accounts of gender roles as a static dichotomic order ruled by the inherent logic of a certain society or period, supporting the idea of cultural relativism. In the case of musicology, feminist musicologists who attempted to reestablish women as the subject, have discovered women composers and musicians who have been ignored or concealed by leading musicologists. It is at this moment important that women studies are not relegated to a marginal and supplemental sphere which would serve to reify the existing belief of unequal gender relations based on biological differences.<br>To surmount such a static dichotomy, the strategic theory must be made based on the issues raised by feminism. In the larger field of art, linguistic and visual representations such as literatures, paintings, films, performances and so on, which can give concrete images of women, have drawn attention, but music has received much less. This might be due to the existence of strong belief in the autonomy of music because of the lack of concreteness in sound. Recent studies, however, have made it clear that music, which has been the last stronghold of <i>autonomous art</i>, is greatly influenced by ideologies and the larger societies. Without dispelling such a belief and recognizing the politics of art &mdash;any type of power related to the construction and practice of meanings in a society&mdash;, gender theory can not be effectively applied to musicology.<br>In an important development, feminist criticism has been applied to music. The most specific feature of musicology might be the ability of analyzing musical sound itself as well as notations, visualized texts of music. Feminist music criticism tries to explicate how meanings of musical sound are constructed: the process of articulating musical discourses through gendered discourses. Susan McCraly, the most well-known musicologist in this field, starts by rejecting the idea of <i>autonomous art</i> and then tries to bring to light the idea that music and its processes operate within the larger political arena. She analyzes not only worded music such as <i>opera</i> but also <i>absolute music</i>.<br>We should recognize gender issues raised by feminists are related to men as well as women: men as the transcendental or universal subject in a patriarchal society now become the mere male subject. Gender music criticism including feminist music criticism, has already started to be developed.<br>History of women apparently seems to acquire a certain status, considering the numerous books and articles that have been recently published. Have the leading historians indeed neglected it as having nothing to do with economic and political history? Such a phenomenon is called <i>ghettoization</i>. As a strategy for surmounting this, the theory submitted by Joan W. Scott has inspired many scholars. She regards the historicizing of gender as the explicating the ways of producing the meanings of gender in different contexts; the exposing the concealed power relation through paying attention to the politics of constructing meanings.<br>When her theory is applied to writing history of music,

著者

井上 貴子

出版者

公益財団法人 史学会

雑誌

史学雑誌 (ISSN:00182478)

巻号頁・発行日

vol.107, no.3, pp.321-354, 1998

著者

井上貴子著

出版者

柘植書房新社

巻号頁・発行日

2007

著者

秋田 茂 井坂 理穂 石坂 晋哉 大石 高志 井上 貴子

出版者

日本南アジア学会

雑誌

南アジア研究

巻号頁・発行日

vol.2015, no.27, pp.7-45, 2015

著者

杉本 大三 井上 貴子 杉本 良男 杉本 星子 柳澤 悠 粟屋 利江 Anandhi Shanmugasundaram

出版者

名城大学

雑誌

基盤研究(B)

巻号頁・発行日

2013-04-01

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インドにおける消費生活の変化を、食料や衣服などのモノの消費、宗教に関連する消費、タミル語雑誌広告などの面から多面的に検討してインドの消費市場の急激な拡大を実証するとともに、そこに表れた社会の構造的変化を浮き彫りにした。また、都市部貧困層の消費生活を分析し、低品質・低価格品への選好が強いことなどの特徴を明らかにしたうえで、そうした消費パターンが、多くの都市部貧困層の出身地である農村部のそれと共通していることを示し、都市・農村間の人的・物的循環がインドの消費市場のあり方を強く規定していること、このことが今後のインドの消費市場の発展を制約する要因となりうることなどを指摘した。

著者

井上 貴子

出版者

政治経済学・経済史学会

雑誌

歴史と経済 (ISSN:13479660)

巻号頁・発行日

vol.58, no.2, pp.30-38, 2016-01-30

著者

柳澤 悠 井上 貴子 杉本 良男 杉本 星子 杉本 大三 粟屋 利江

出版者

東京大学

雑誌

基盤研究(B)

巻号頁・発行日

2010

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タミルナード州、パンジャーブ州の村落調査および産業調査、現地語の新聞・雑誌や自叙伝等の分析、及び全国標本調査の分析を行い、耐久消費財は農村貧困階層にも相当程度普及し、教育や家族関係などに構造的な変動が起っていることを明らかにした。さらに、農村下層階層の安価な工業製品への消費拡大が、零細企業による工業生産の拡大を支えていることや、地域の消費変動が工業発展の重要な基礎となっていることを明らかにした。