著者
熊谷 知子
出版者
日本演劇学会
雑誌
演劇学論集 日本演劇学会紀要 (ISSN:13482815)
巻号頁・発行日
vol.62, pp.51-66, 2016-05-30 (Released:2016-06-07)

In my previous research note “OSANAI Kaoru's religious faith and that time” (2015), I argued that OSANAI had followed several religions in his life. Around 1900, he briefly became a Christian. Thereafter, he was closely involved with new religions: Shiseiden around 1916 and Omoto-kyo around 1920. Whereas he held these faiths temporarily, OSANAI was interested in spiritualism throughout his life. It is necessary to consider this tendency in his theatrical work. This paper discusses OSANAI Kaoru's play Daiichi no Sekai (The First World), focusing on his religious faith and spiritualism. This play was written for a Kabuki actor, ICHIKAWA Sadanji II, performed by the Sadanji troupe in 1921. Until now, Daiichi no Sekai has been explored only in terms of its mysticism or symbolism, however this paper focuses on its connection to an autobiographical novel by a devout Christian: Shisen wo Koete (Before the Dawn) by KAGAWA Toyohiko. It is important to note that OSANAI had directed Shisen wo Koete, dramatized by the Shimpa (the 'new school'), in the month prior to the opening performance of Daiichi no Sekai. Specifically, this paper focuses on the reflection of OSANAI's feelings in the characters of Yamanaka, the man of the house, and Shimamura, the orphan houseboy.
著者
伊藤 華江 保沢 こずえ 牧野 伸二 近藤 玲子 熊谷 知子 平林 里恵 関口 美佳
出版者
JAPANESE ASSOCIATION OF CERTIFIED ORTHOPTISTS
雑誌
Japanese orthoptic journal (ISSN:03875172)
巻号頁・発行日
vol.38, pp.191-196, 2009-11-30
被引用文献数
2 1

<B>【目的】</B>プリズム非装用時と眼鏡内組み込みプリズムレンズ、膜プリズム装用時の視力、コントラスト感度、高次収差を比較検討した。<BR><B>【対象と方法】</B>屈折異常以外に眼疾患のない正常者20例20眼(21~47歳、平均28.8歳)を対象に、屈折矯正下でプリズム非装用下(装用なし群)、8Δ組み込みプリズム装用下(組み込み群)、8Δフレネル膜トライアルレンズ装用下(膜プリズム群)の視力、コントラスト感度、高次収差を測定した。コントラスト感度は、CAT-2000™(ナイツ)を用い、昼間視の状態で100%、25%、10%、5%、2.5%で測定した。高次収差はKR-9000PW™(トプコン)を用い、瞳孔測定径4mmのコマ様収差(S3)、球面様収差(S4)、全高次収差を測定した。<BR><B>【結果】</B>視力(logMAR)は装用なし群の-0.08±0.0に比較すると、組み込み群では-0.07±0.02と有意差はなかったが、膜プリズム群では0.04±0.10と有意に低下した(p<0.001)。コントラスト感度は装用なし群と組み込み群ではいずれのコントラストでも有意差はなかったが、膜プリズム群では有意に低下した。高次収差は装用なし群と組み込み群ではS4で有意差がなかったが、S3、全高次収差は組み込み群で有意に大きく(p<0.05)、膜プリズム群ではS3、S4、全高次収差の全てで有意に大きかった(p<0.005)<BR><B>【結論】</B>眼鏡内に組み込み可能な8Δまでの組み込みプリズムでは、同じ度の膜プリズムに比べ、視機能への影響は少ないことが推測された。
著者
熊谷 知子
出版者
日本演劇学会
雑誌
演劇学論集 日本演劇学会紀要 (ISSN:13482815)
巻号頁・発行日
vol.62, pp.51-66, 2016

In my previous research note "OSANAI Kaorus religious faith and that time" (2015), I argued that OSANAI had followed several religions in his life. Around 1900, he briefly became a Christian. Thereafter, he was closely involved with new religions: Shiseiden around 1916 and Omoto-kyo around 1920. Whereas he held these faiths temporarily, OSANAI was interested in spiritualism throughout his life. It is necessary to consider this tendency in his theatrical work. This paper discusses OSANAI Kaorus play Daiichi no Sekai (The First World), focusing on his religious faith and spiritualism. This play was written for a Kabuki actor, ICHIKAWA Sadanji II, performed by the Sadanji troupe in 1921. Until now, Daiichi no Sekai has been explored only in terms of its mysticism or symbolism, however this paper focuses on its connection to an autobiographical novel by a devout Christian: Shisen wo Koete (Before the Dawn) by KAGAWA Toyohiko. It is important to note that OSANAI had directed Shisen wo Koete, dramatized by the Shimpa (the new school), in the month prior to the opening performance of Daiichi no Sekai. Specifically, this paper focuses on the reflection of OSANAIs feelings in the characters of Yamanaka, the man of the house, and Shimamura, the orphan houseboy.