著者

中川 宏 橋本 不二雄 岡本 昌夫 八木田 恭輔 西河 光雄

出版者

一般社団法人 日本体育・スポーツ・健康学会

雑誌

体育学研究 (ISSN:04846710)

巻号頁・発行日

vol.22, no.3, pp.153-160, 1977-09-25 (Released:2017-09-27)

---

The training effects of bench press on the arm and shoulder muscles were electromyographically examined. The subjects used in the experiment were six helthy young males and the muscles examined were the lateral and long heads of m. triceps brachii, the sternocostal portion of m. pectoralis major and the anterior portion of m. deltoideus. The EMG recordings were made with a 4 channel electroencephalograph (Nihon-Koden Inst. Co., Ltd.) utilizing surface electrodes, 10 mm in diameter. The training was performed twice a week and continued for six months. During the training period, the electromyographic recordings and the measurements of the extension strength at the elbow joint and the flexion strength at the shoulder joint were taken once a month. The results obtained were summarized as follows: 1)All subjects showed no visible changes in the discharge patterns of the lateral head of m. triceps brachii and the sternocostal portion of m. pectralis major throughout the training period. 2)The discharge patterns of the long head of m. triceps brachii and the anterior portion of m. deltoideus varied among the six subjects and were classified into three different types. Type A: The first two subjects showed the co-active discharges in the long head of m. triceps brachii and the anterior portion of m. deltoideus. Type B: In the next subjects, the discharge of the long head of m. triceps brachii appeared at the latter half period of the bench press motion. Type C: The discharge patterns of the last two subjects shifted from type A to type B during the training. When the maximum weight was loaded, however, the subjects in type C showed the similar discharge pattern to that of type A. 3)In type A and type C, the extension strength at the elbow joint, the flexion strengh at the shoulder joint and the maximum weight of the barbell for one-bout lift increased up to 132%-165%, 150%-184% and 147%-173% of the control, respectively. 4)In spite of little or no increase in the extension strength at the elbow joint and only 2 to 16% increase in the flexion strength at the shoulder joint. the subjects in type B showed 33 to 48% increase in the maximum weight of barbell for one-bout lift. 5)The decrease in the electrical discharges of the muscles at the minimum (16kg) and the light (31 or 36kg) loads observed during the training period might be due to the increase in the contractile force of the muscles at the level of individual motor unit.

著者

石西 克有 大西 健 岡本 昌夫 草野 勇 但尾 哲哉 中川 昭 西河 光雄 藤井 主計 溝畑 寛治

出版者

一般社団法人 日本体育学会

雑誌

日本体育学会大会号

巻号頁・発行日

vol.40, 1989

著者

岡本 昌夫

出版者

日本比較文学会

雑誌

比較文学 (ISSN:04408039)

巻号頁・発行日

vol.4, pp.23-33, 1961

---

<p> It is commonly known that the New Style Poetry of the Meiji Era, called ' Shintaishi ' in Japanese, started under the influence of Western Poetry. In point of style and metre, the translation poems of the Early Meiji Era seem to have given examples for the New Style Poetry. Ōwada's <i>Ōbeimeikashishū</i> (Selected Poems from Famous Western Authors) published in 1894, is especially considered to be among those examples by the later Meiji poets, though there are some other previous works, such as <i>Shintaishishō</i> (Selections from New Style Poetry) translated by Inoue, Takayama and Yatabe.</p><p> In <i>Ōbeimeikashishū</i> Ōwada translated more than one hundred Western poems into Japanese in seven-and-five syllable metre verse, just as Inoue and two others had done in their <i>Shintaishishō</i>. But his selection of seven-and-five syllable metre in his translation was the result of deliberate consideration and experiments of the translator, not because of his imitative instinct. Ōwada composed various styles of poems previous to his <i>Ōbei- meikashishū</i> and found seven-and-five syllable metre fittest for the New Style Poetry.</p><p> Thus after many experiments by such translators, as Ōwada, the form of the New Style Poems of the Meiji Era was established, which was brought to its perfection by such poets as Shimazaki Tōson and Tsuchii. Bansui</p>

著者

岡本 昌夫

出版者

日本比較文学会

雑誌

比較文学 (ISSN:04408039)

巻号頁・発行日

vol.4, pp.23-33, 1961-09-20 (Released:2017-06-17)

---

It is commonly known that the New Style Poetry of the Meiji Era, called ‘ Shintaishi ’ in Japanese, started under the influence of Western Poetry. In point of style and metre, the translation poems of the Early Meiji Era seem to have given examples for the New Style Poetry. Ōwada’s Ōbeimeikashishū (Selected Poems from Famous Western Authors) published in 1894, is especially considered to be among those examples by the later Meiji poets, though there are some other previous works, such as Shintaishishō (Selections from New Style Poetry) translated by Inoue, Takayama and Yatabe. In Ōbeimeikashishū Ōwada translated more than one hundred Western poems into Japanese in seven-and-five syllable metre verse, just as Inoue and two others had done in their Shintaishishō. But his selection of seven-and-five syllable metre in his translation was the result of deliberate consideration and experiments of the translator, not because of his imitative instinct. Ōwada composed various styles of poems previous to his Ōbei- meikashishū and found seven-and-five syllable metre fittest for the New Style Poetry. Thus after many experiments by such translators, as Ōwada, the form of the New Style Poems of the Meiji Era was established, which was brought to its perfection by such poets as Shimazaki Tōson and Tsuchii. Bansui