著者

大谷 真理子 山本 陽介 酒巻 智美 大沼 亜紀 赤木 圭太 松田 慶祐 杉山 奈津子 宮嶋 篤志 廣田 孝司 小茂田 昌代

出版者

一般社団法人日本医療薬学会

雑誌

医療薬学 (ISSN:1346342X)

巻号頁・発行日

vol.38, no.2, pp.78-86, 2012-02-10 (Released:2013-02-10)

参考文献数

9

被引用文献数

5 6

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An oral scabicide, STROMECTOL® Tablets (ivermectin) is often administered to patients as a simple suspension by feeding tube. However, it was reported that the administration by this method was less effective than oral administration of tablets. One reason for this lower efficacy might be that the devices and technique for this method of administration are not appropriate. The aim of this study is to propose an appropriate technique.In this report, we compare the recovery ratio when a simple suspension is pushed through a syringe under various conditions. As a result of washing the syringe with distilled water after the first use, the recovery of ivermectin was higher than that without washing. The recovery of ivermectin from syringes set at an angle of 90° and 45° to the horizon was significantly higher than that at 0° and -45°. And recovery from previously used syringes was about 10% higher than that from new syringes (p<0.05). Furthermore, after having orally administered STROMECTOL® Tablets and gavaged its suspension with an appropriate delivery technique to rabbits, we measured the ivermectin concentrations in plasma by LC-MS/MS. The AUC0-192h of ivermectin was almost equivalent for both methods of administration.In conclusion, to secure the same dosage of administration with a simple suspension as that of tablets, it is highly recommended to employ a previously used syringe at an angle of over 45°, and to inject by a technique that washes out the entire residue in the syringe after first injection.

著者

日本皮膚科学会疥癬診療ガイドライン策定委員会 石井 則久 浅井 俊弥 朝比奈 昭彦 石河 晃 今村 英一 加藤 豊範 金澤 伸雄 久保田 由美子 黒須 一見 幸野 健 小茂田 昌代 関根 万里 田中 勝 谷口 裕子 常深 祐一郎 夏秋 優 廣田 孝司 牧上 久仁子 松田 知子 吉住 順子 四津 里英 和田 康夫

出版者

公益社団法人 日本皮膚科学会

雑誌

日本皮膚科学会雑誌 (ISSN:0021499X)

巻号頁・発行日

vol.125, no.11, pp.2023-2048, 2015-10-20 (Released:2015-10-22)

参考文献数

185

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Here, we present our new guideline for the diagnosis and treatment of scabies which we, the executive committee convened by the Japanese Dermatological Association, developed to ensure proper diagnosis and treatment of scabies in Japan. Approval of phenothrin topical use under the National Health Insurance in August 2014 has contributed to this action. Permethrin, a topical anti-scabietic medication belonging to the same pyrethroid group as phenothrin, is already in use worldwide. For making proper diagnosis of scabies, following three points should be taken into consideration: clinical findings, detection of the mite(s) (Sarcoptes scabiei var. hominis), and epidemiological findings. The diagnosis is confirmed when the mites or their eggs are identified by microscopy or by dermoscopy. As we now have a choice of phenothrin, the first line therapy for classical scabies is either topical phenothrin lotion or oral ivermectin. Second line for topical treatment is sulfur-containing ointments, crotamiton cream, or benzyl benzoate lotion. Gamma-BHC ointment is no more provided for clinical use. If the patient is immunosuppressed, the treatment option is still the same, but he or she should be followed up closely. If the symptoms persist, diagnosis and treatment must be reassessed. For hyperkeratotic (crusted) scabies and nail scabies, removal of thick scabs, cutting of nails, and occlusive dressing are required along with topical and/or oral treatments. It is important to apply topical anti-scabietic lotion/cream/ointment below the neck for classical scabies or to the whole body for hyperkeratotic scabies, including the hands, fingers and genitals. For children and elderlies, it is recommended to apply treatment to the whole body even in classical scabies. The dosage for ivermectin is a single oral administration of approximately 200 μg/kg body weight. It should be taken on an empty stomach with water. Administration of a second dose should be considered at one-week with new lesions and/or with detection of mites. Safety and effectiveness of combined treatment with topical and oral medications are not yet confirmed. Further assessment is needed. Taking preventative measures is as important as treating those infected. It is essential to educate patients and healthcare workers and conduct epidemiological studies to prevent further spread of the disease through effectively utilizing available resources including manpower, finance, logistics, and time. (Jpn J Dermatol 125: 2023-, 2015)

著者

廣田 孝

出版者

京都女子大学宗教・文化研究所

雑誌

研究紀要 (ISSN:09149988)

巻号頁・発行日

vol.31, pp.63-87, 2018-03-01

著者

廣田 孝

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.45, no.2, pp.45-55, 1994-09-30

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Seiho painted three famous figure-paintings in his life. "Dancing to the tune" (1909), "Posing for the first time" (1913) and "Day Laborer" (1917). I started my study with "Cherry Viewing" (=a skeleton looking back to cherry blossoms falling, 1897) and mainly study about "Dancing heavenly maid" (Only idea, Cealing-painting of the gate, Higashi-Honganji temple, 1910-15). He was interested in human-frame and body, before 1897. He visited Paris Exposition Universal 1900, and looked around the art-expositions fulled with nude-paintings and nude-sculptures. He was deeply impressed in nude-arts. When he was requested to paint the ceiling, 1910, he decided to paint female-nudes. He investigated old-type heavenly maid in Japanese paintings and on the other hand he skeched real nude-models day after day. Finaly he failed the ceiling-painting without two trial productions. Seiho painted the lion from his sketches at Antwerp zoo. It was very real from traditional style, and was the first-prize at Art Contest 1901. Analogically saying, he wanted to paint real nude-shape from real nude models. There is the pattern extremely similar in "Lion" and "Heavenly maid". He failed it by the gaps between Japan and Europe. It is necessary to study in the future.

著者

廣田 孝 ヒロタ タカシ Hirota Takashi

出版者

関西意匠学会

雑誌

デザイン理論 (ISSN:09101578)

巻号頁・発行日

vol.48, pp.47-60, 2006-05-31

著者

廣田 孝

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.51, no.1, pp.37-46, 2000-06-30

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TAKEUCHI Seiho was born in 1864 and he started to study traditional Japanese painting under KONO Bairei. In 1886, he attended Ernest F. Fenollosa's lectures on Japanese painting, which made him consider the future of Japanese painting. While many of his contemporary artists tended to adopt Western style in modernizing Japanese painting without much success, Seiho was not particularly impressed by it. He made a careful comparison of Western with Japanese painting and came to the conclusion that what characterized Japanese painting was shai, "expressing the painter's inner lyrical inspiration using what he or she sees out there as a form of expressing it, " upon which he placed special emphasis in his attempt to innovate his painting. Convinced of his original idea after the visit to the 1900 Paris Exhibition, Seiho attempted to transcend the old style which was almost exclusively concerned with umpitu, "brushworking" and to combine shasei, "sketching to grasp the outer characteristics of objects, " with shai, "expressing his inner lyricism." At the same time, he made an effort to attain shohitu, "the utmost simplicity out of which no touch whatso-ever could be eliminated."

著者

廣田 孝

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.51, no.1, pp.37-46, 2000-06-30 (Released:2017-05-22)

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TAKEUCHI Seiho was born in 1864 and he started to study traditional Japanese painting under KONO Bairei. In 1886, he attended Ernest F. Fenollosa's lectures on Japanese painting, which made him consider the future of Japanese painting. While many of his contemporary artists tended to adopt Western style in modernizing Japanese painting without much success, Seiho was not particularly impressed by it. He made a careful comparison of Western with Japanese painting and came to the conclusion that what characterized Japanese painting was shai, "expressing the painter's inner lyrical inspiration using what he or she sees out there as a form of expressing it, " upon which he placed special emphasis in his attempt to innovate his painting. Convinced of his original idea after the visit to the 1900 Paris Exhibition, Seiho attempted to transcend the old style which was almost exclusively concerned with umpitu, "brushworking" and to combine shasei, "sketching to grasp the outer characteristics of objects, " with shai, "expressing his inner lyricism." At the same time, he made an effort to attain shohitu, "the utmost simplicity out of which no touch whatso-ever could be eliminated."

著者

廣田 孝

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.55, no.4, pp.29-41, 2005-03-31 (Released:2017-05-22)

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Takeuchi Seiho was a contemporary sketch artist as declared by his motto, "Shasei and Shohitu" Shohitu were a major feature of his sketches, and he insisted upon their use. This style came from the traditions he inherited through his studies. Seiho found employment drawing Yuzen-shitae at Takashimaya, where he met Kishi Chikudo. Chikudo actually sketched drawings such as tigers from real life, rather than imagination. This must have strongly influenced Seiho at the time since Chikudo, his senior, advised him on his art. By Chikudo' adovises, Seihou rediscovered realistic presentation in the tradition of Kyoto-school. During the Paris International Exposition in 1900, the 33rd year of Meiji, Seiho learned how to draw animals from real life in Europe. Afterwards, he returned to Japan, having sketched a lion in this fashion. The following year, his work, Shishi (Lion,) displayed the establishment of Seiho's contemporary sketch technique. Thanks to the encounter with Chikudo at Takashimaya, Seiho seemed to establish his own style of sketching.

著者

廣田 孝

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.55, no.4, pp.29-41, 2005-03-31

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Takeuchi Seiho was a contemporary sketch artist as declared by his motto, "Shasei and Shohitu" Shohitu were a major feature of his sketches, and he insisted upon their use. This style came from the traditions he inherited through his studies. Seiho found employment drawing Yuzen-shitae at Takashimaya, where he met Kishi Chikudo. Chikudo actually sketched drawings such as tigers from real life, rather than imagination. This must have strongly influenced Seiho at the time since Chikudo, his senior, advised him on his art. By Chikudo' adovises, Seihou rediscovered realistic presentation in the tradition of Kyoto-school. During the Paris International Exposition in 1900, the 33rd year of Meiji, Seiho learned how to draw animals from real life in Europe. Afterwards, he returned to Japan, having sketched a lion in this fashion. The following year, his work, Shishi (Lion,) displayed the establishment of Seiho's contemporary sketch technique. Thanks to the encounter with Chikudo at Takashimaya, Seiho seemed to establish his own style of sketching.

著者

山野 英嗣 尾崎 正明 稲賀 繁美 川島 智生 加藤 哲弘 河上 繁樹 中川 理 並木 誠士 廣田 孝 前田 富士男 増田 聡 藪 亨 新見 隆 出川 哲朗 中川 克志 松原 龍一 池田 祐子 小倉 実子 牧口 千夏 中尾 優衣 河本 信治

出版者

独立行政法人国立美術館京都国立近代美術館

雑誌

基盤研究(A)

巻号頁・発行日

2009

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本研究は、日本近代における建築、デザイン、工芸を対象としながらも、ジャンルを超え、そして国境を超えた動向について総合的に検証したものである。研究成果は、最終的に一冊の図書としてまとめた他、研究代表者が所属する美術館においても展覧会やシンポジウムを開催し、研究成果を広く発信した。東西の文化交流、そしてジャンル間を交差する表現への注目など、時宜を得たテーマとして、建築、デザインそして工芸の各領域において、新たな視点が提言されたと思われる。