著者

鹿毛 敏夫 早坂 俊廣 山崎 岳 坂本 嘉弘 田中 裕介 吉田 寛 坪根 伸也 中西 義昌

出版者

新居浜工業高等専門学校

雑誌

基盤研究(B)

巻号頁・発行日

2007

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中国に残された文献史料によると、嘉靖36(1557)年に日本の戦国大名大友義鎮が浙江省に派遣した貿易船が、舟山島の岑港で沈没した。「巨舟」と記されたその船は、当該期東シナ海域を往来する船のなかで最大級の大型構造船であった。本研究の現地調査において、沈没船の時代に関わる考古遺物を確認できたとともに、船の母港の都市空間構造を明らかにすることができた。また、共通の意識を有する中国の研究者との連携体制を構築するとともに、国際学会を通じて研究成果を世界的に発信することができた。

著者

眞嶋 史叙 草光 俊雄 新井 潤美 大橋 里見 菅 靖子 大石 和欣 冨山 太佳夫 見市 雅俊 新 広記 田中 裕介

出版者

学習院大学

雑誌

基盤研究(C)

巻号頁・発行日

2009

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本研究プロジェクトでは,「消費文化史研究会」開催を通じて,この新領域に関する共通認識を培いつつ,構成員をそれぞれ単独執筆者とする著作シリーズ発刊の準備を進めてきた.成果の一部は, 2009年社会経済史学会のパネル報告「消費社会における教養を考える」で公表された.また, 2011年度末に開催された国際シンポジウムでは,国内外の研究者25名の講演・発表を通じて,研究成果を集約するとともに,今後の学問的課題を確認した.

著者

田中 裕介

出版者

一般財団法人 日本英文学会

雑誌

英文学研究 支部統合号 (ISSN:18837115)

巻号頁・発行日

vol.1, pp.127-144, 2009-01-10 (Released:2017-06-16)

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It seems strange that Matthew Arnold, who could be regarded as a realistic relativist, devoted himself to the belief that 'culture' is an abstract and absolute idea, in his most famous work, Culture and Anarchy. In this paper, I will recount the how (not the why) of his thoughts by examining the transition of his use of critical terms such as 'culture' and 'state.' Through his early prose works, Arnold struggled to abandon the romantic sentiments that overwhelmed him as a young poet and confirm his own view of poetry by idealising the verbal reproduction of the 'actions' described in ancient Greek plays. In On Translating Homer, a creative activity based on 'models' was generalised as a form of recognition 'to see the object as in itself it really is', which he called 'criticism.' In 'Function of Criticism at the Present Time,' he defined 'criticism' as a mediating art to diffuse normative knowledge to a whole society; in his educational reports, he considered 'state' as an 'art' of creating or maintaining national unity. 'State' became a normative idea in Culture and Anarchy, where 'culture' was considered to function as a medium through which the English could attain the ideal. However, in his critical terminology, the word 'culture' has diverse meanings. In his early politico-historical essay, 'Democracy,' there is a strong indication of the general mode of the lives of the English aristocracy. Originally, it was a concrete noun that suggests a particular national life, though it gradually became an abstract concept that referred to general humanity. In 'Function of Criticism at the Present Time,' he stressed the social instrumentality of 'criticism' while restraining himself from pushing 'culture' to the forefront. Prior to Culture and Anarchy, he appeared to hesitate to use the word 'culture' extensively, especially in his literary criticism, since it is a term that implies nationality and is closely associated with romanticism, which he negated in his earlier writings. Thus, how did he manage to employ 'culture' as a normative concept in Culture and Anarchy? Paradoxically, he achieved this by defining it as an art. Based on the parallelism with the concept of the state, it follows the process by which 'state' changes from an instrumental framework to a normative idea. In this work, Arnold not only absolutised but also personalised the term 'culture', which appeared to be a medium or an image of God. Arnold claimed that the English adored 'culture' as it could function as a medium for their intellectual perfection. Absolute diction enabled him to use the word with a kind of transcendent significance. For this reason, we can consider the quasi-religious language of Culture and Anarchy as the discourse of idolatry.

著者

田中 裕介 石川 洋一 五十嵐 弘道 西川 悠 蒲地 政文

出版者

公益社団法人 日本水産学会

雑誌

日本水産学会誌 (ISSN:00215392)

巻号頁・発行日

vol.84, no.6, pp.1047-1049, 2018-11-15 (Released:2018-12-14)

参考文献数

6

被引用文献数

3

著者

田中 裕介

出版者

別府大学史学研究会

雑誌

史学論叢 (ISSN:03868923)

巻号頁・発行日

no.45, pp.74-95, 2015-03