著者
吉田 寛
出版者
美学会
雑誌
美學 (ISSN:05200962)
巻号頁・発行日
vol.61, no.1, pp.25-36, 2010-06-30

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

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
美學 (ISSN:05200962)
巻号頁・発行日
vol.57, no.2, pp.15-28, 2006-09-30

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
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

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
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)

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
桑村 充 吉田 寛司 山手 丈至 小谷 猛夫 大橋 文人 佐久間 貞重
出版者
社団法人日本獣医学会
雑誌
The journal of veterinary medical science (ISSN:09167250)
巻号頁・発行日
vol.60, no.5, pp.619-621, 1998-05-25
被引用文献数
2 13

A 13-month-old female Newfoundland dog suffered from urinary bladder tumor. Histologically the tumor consisted of round or fusiform cells, occasionally having eosinophilic cytoplasms. Apparent mature rhabdomyoblasts possessing elongated eosinophilic cytoplasm and cross striations were infrequently observed. The tumor cells exhibited immuno-positive for anti-myoglobin, desmin and vimentin antibodies. Ultrastructurally, tumor cells have abundant myofibrils in their cytoplasm and Z bands were also detected. The present tumor was diagnosed as a urinary bladder rhabdomyosarcoma in a Newfoundland dog, which has not been frequently reported in dogs.
著者
宮原 敏郎 廣川 光昭 上田 幹夫 吉田 寛
出版者
公益社団法人 化学工学会
雑誌
化学工学論文集 (ISSN:0386216X)
巻号頁・発行日
vol.20, no.4, pp.497-503, 1994-07-15 (Released:2009-11-12)
参考文献数
17
被引用文献数
10

気泡塔を用いて, 温度とpHが調整された水中にオゾンを含む空気を送入することにより, 水中へのオゾンの吸収特性を実験的に検討した.水中のオゾン濃度はオゾン送入後しばらくして定常値に達した.この定常濃度は送入ガス速度には依存せず, pH, 送入ガスのオゾン濃度および温度の関数となり, pHが小さいと大きく, 温度が低く, 送入ガスのオゾン濃度が大きいと高い値を示した.水中に溶解したオゾンは自己分解するが, その自己分解反応次数はおよそ1.5であった.自己分解速度定数の実験式および秋田らにより報告されている液側物質移動容量係数を用い, ヘンリ一定数を推算する案験式を得た.これらの結果を用い, オゾンの水中への吸収に関する物質収支式をRunge-Kutta-Gill法で解き, オゾンの水中での濃度の時間的変化が推測できることが判明した.