著者

大矢 勝 甲斐 義明

出版者

一般社団法人 日本繊維製品消費科学会

雑誌

繊維製品消費科学 (ISSN:00372072)

巻号頁・発行日

vol.52, no.8, pp.510-517, 2011-08-20 (Released:2016-12-03)

参考文献数

12

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洗浄への炭酸水素ナトリウム(重曹)の利用に関して,インターネット上の消費者情報の実情を調査するとともに,関連事項の実験的検証を行った.インターネット上では炭酸水素ナトリウムの洗浄利用について肯定するものが大部分を占め,その洗浄力の根拠として水の軟化作用を挙げているものが多かった.洗浄試験の結果,一般の洗剤類に比べて油脂,パラフィン,カーボンブラック,酸化鉄,ヘモグロビンなどの汚れ除去性は劣り,石けんに加えた場合も石けん単独よりも洗浄力が低下するが,脂肪酸に関しては高い洗浄力を示した.炭酸水素ナトリウムは高濃度で利用することが前提なので,強いアルカリ緩衝作用によると考えられる.炭酸水素ナトリウムが水を軟化するには30~60分以上の時間を要するので実用上は関係しない.水生生物毒性は非常に低いが,洗浄へ利用する時は使用量が多いためにLCI評価で不利な結果が得られる.総合的にみて炭酸水素ナトリウムは環境配慮型の洗浄剤として高くは評価できない.

著者

甲斐 義明

出版者

美学会

雑誌

美學 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, 2010-12-31

著者

甲斐 義明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.85-96, 2011-06-30 (Released:2017-05-22)

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Alfred Stieglitz's series of photographs of clouds entitled Equivalents has been understood from two contrasting perspectives: "straight photography" and symbolism. This essay discusses an aspect of the Equivalents which has been neglected in these two dominant frames of reference. When Stieglitz began to make the Equivalents in the mid-1920s, the painters around him, such as Georgia O'Keeffe and Stanton Macdonald-Wright, were primarily concerned with how to represent the American landscape. This concern urged them to abandon pure abstraction and to depict landscapes that were considered to be characteristically American. Although the Equivalents capture only clouds in the sky, each photograph was shot at Lake George in upstate New York. When he exhibited them, Stieglitz carefully arranged the captions and installations so that a viewer could realize this fact. As Lake George was another place regarded to embody the beauty and spirit of America, the Equivalents were not unrelated to the shared interest of the painters of the Stieglitz circle. In pursuing this concern, Stieglitz utilized an intrinsic characteristic of the photographic medium, namely its inseparable connection to a specific place and viewpoint.

著者

甲斐 義明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.62, no.1, pp.85-96, 2011

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Alfred Stieglitz's series of photographs of clouds entitled Equivalents has been understood from two contrasting perspectives: "straight photography" and symbolism. This essay discusses an aspect of the Equivalents which has been neglected in these two dominant frames of reference. When Stieglitz began to make the Equivalents in the mid-1920s, the painters around him, such as Georgia O'Keeffe and Stanton Macdonald-Wright, were primarily concerned with how to represent the American landscape. This concern urged them to abandon pure abstraction and to depict landscapes that were considered to be characteristically American. Although the Equivalents capture only clouds in the sky, each photograph was shot at Lake George in upstate New York. When he exhibited them, Stieglitz carefully arranged the captions and installations so that a viewer could realize this fact. As Lake George was another place regarded to embody the beauty and spirit of America, the Equivalents were not unrelated to the shared interest of the painters of the Stieglitz circle. In pursuing this concern, Stieglitz utilized an intrinsic characteristic of the photographic medium, namely its inseparable connection to a specific place and viewpoint.

著者

甲斐 義明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.66, no.2, pp.119, 2015-12-31 (Released:2017-05-22)

著者

甲斐 義明

出版者

美学会

雑誌

美学 (ISSN:05200962)

巻号頁・発行日

vol.61, no.2, pp.119, 2010-12-31 (Released:2017-05-22)

著者

甲斐 義明

出版者

東京大学大学院人文社会系研究科グローバルCOEプログラム「死生学の展開と組織化」

雑誌

死生学研究 (ISSN:18826024)

巻号頁・発行日

vol.16, pp.30-51, 2011-10-31

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Recently, nineteenth-century art photography distinctive for its "pictorialism" has been re-evaluated in the discourses of the history of photography. However, mainstream scholarship, which emphasizes the affinity between photography and other art forms such as painting or literature, has generally ignored the "photographic-ness" of pictorial photography. This paper examines how the work of English photographer Henry Peach Robinson, a representative figure in nineteenth-century art photography, embodied the medium-specificity of photography. It will do so by paying special attention to his works that deal with the themes of sleep and death, such as Fading Away (1858), The Lady of Shalott (1860), and Sleep (1867). In nineteenth-century Western culture, it was not unusual for people to commission professional photographers to take photographs of their dead family members before burials took place. In those postmortem photographs the corpse was typically depicted as if he or she were just "sleeping." It is important to realize that such a disguise was made possible by the power of photography, in which the states of being dead or asleep are often indistinguishable from one another. For Robinson, who tried to produce his photographic works strictly as he intended, such an instability of meaning was nothing but an obstacle to his creation. Indeed, Robinson finally stopped tackling the themes of death and sleep in his work and instead turned to more lively subject matter.

著者

バッチ ミケーレ 秋山 聰 市川 佳世子 甲斐 義明

出版者

東京大学大学院人文社会系研究科グローバルCOEプログラム「死生学の展開と組織化」

雑誌

死生学研究 (ISSN:18826024)

巻号頁・発行日

vol.15, 2011-03-15