著者

椿 俊和 岩崎 郁美 小田島 優子 飯倉 洋治

出版者

一般社団法人 国立医療学会

雑誌

医療 (ISSN:00211699)

巻号頁・発行日

vol.47, no.5, pp.331-334, 1993

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麦飯石は無水珪酸を主成分とする火成岩類中の石英斑岩に属する岩石であるが, 古くから腫れ物・皮膚病に効果のある漢方薬として普及してきた. そこで我々は, 麦飯石の接触性皮膚炎に対する効果をみる目的で,モルモットに用いて検討を行った.<br>方法は, 生後6週のハートレイ系モルモットの雌8匹の背中の毛を刈り, そこに0.1%漆溶液0.5mlを毎日10回同じ力で塗布し接触性皮膚炎を作製し, その後背中の左半分は治療せず, 右半分に麦飯石水溶液またはワセリンを塗布した.<br>肉眼的には両群とも3日目に発赤・浮腫・糜爛が認められたが, 麦飯石水溶液塗布群の程度が一番弱かった. 組織学的には表皮の肥厚と過角化, 血管周囲性の炎症性小円形細胞の浸潤が共通した所見であったが, 麦飯石群の表皮肥厚が最も軽度で, また炎症性小円形細胞の浸潤もわずかであった.<br>以上より, 麦飯石は接触性皮膚炎に対して抗炎症効果を持ち, 皮膚炎の改善に有効であると考えられた.

著者

田島 優子

出版者

九州大学大学院英語学・英文学研究会

雑誌

九大英文学 (ISSN:09160256)

巻号頁・発行日

vol.52, pp.53-75, 2010-03-31

著者

田島 優子

出版者

日本アメリカ文学会

雑誌

アメリカ文学研究 (ISSN:03856100)

巻号頁・発行日

no.51, pp.23-38, 2015-03-31

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In Nathaniel Hawthorne's The Marble Faun, Hilda is repeatedly described as a "dove" and an "angel," in contrast to the "morbidity" of such things as the dust, poison, and unwholesomeness that fill the scenes set in Rome. Miriam and Donatello, who commit murder, are, in this context, described as if they have contracted a disease as a result of their sin. For this reason, Hilda, who wants to preserve her own purity, has to obstinately reject them, for which readers have not accepted her as a flexible and humanized character. It may be that the author had a critical view of this fastidious character due to his wife, who was one of the models for Hilda. Sophia Hawthorne subscribed to the Victorian values of her time, which compelled her to delete "inappropriate" expressions from her husband's manuscript after his death. However, Hilda's personality should not be reduced to this superficial reading. In the latter part of the narrative, Hilda gradually comes to accept the fact that she is trying to avoid what is unhealthy and sinful because she is, in truth, attracted to it. And so, she comes to realize that evil brings a sorrowful beauty to the arts. Like Donatello, Hilda also experiences the "Fortunate Fall," and is humanized, thereby becoming a suitable guide for Kenyon, who eagerly needs her to come back to their country. The darkness of Rome, its "disease" and "unwholesomeness," is, in this narrative, necessary for artists to create original works. As Hawthorne mentions in the preface, Italy was valuable in that it provided authors with a suitable environment for creating literary works. This contrasts with America, which has "no shadow, no antiquity, no mystery, no picturesque and gloomy wrong." By accepting the darkness of Rome, which she had previously rejected, we may say that Hilda acquires the ability to become an eminent artist in her own country.