著者

屋代 春樹 高田 一

出版者

一般社団法人 日本機械学会

雑誌

日本機械学会論文集 C編 (ISSN:03875024)

巻号頁・発行日

vol.72, no.714, pp.435-440, 2006-02-25 (Released:2011-03-04)

参考文献数

6

被引用文献数

1

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It is important to reduce the vibrations of an Interior Permanent Magnetic motor that is generally installed in electrical vehicles, fuel cell vehicles, and hybrid electrical vehicles. The purpose of the study here is to build up the torque ripple reduction methodology by controlling the working currents on IPM motor. The distributed winding IPM motor with 48 teeth on the stator and 4 pairs of poles on the rotor is treated. The relating equation between torque and three phase alternating currents is shown firstly, utilizing the torque that results from the Finite Element Analysis of the plane electromagnetic field. Secondly, high order currents are derived from the equation and superposed on the basic currents in order to reduce the torque ripple. Finally, the plane electromagnetic field analysis is performed again with the currents including the high order ones and a torque ripple reduction of more than 25 dB with a torque drop of 2.2% is obtained.

著者

高田 真実 田中 直人

出版者

一般社団法人日本建築学会

雑誌

学術講演梗概集. E-1, 建築計画I, 各種建物・地域施設, 設計方法, 構法計画, 人間工学, 計画基礎 (ISSN:13414518)

巻号頁・発行日

vol.2004, pp.903-904, 2004-07-31

著者

高田 靖司

出版者

日本哺乳類学会

雑誌

哺乳動物学雑誌: The Journal of the Mammalogical Society of Japan (ISSN:05460670)

巻号頁・発行日

vol.8, no.1, pp.40-53, 1979

被引用文献数

8

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長野県中央山地にある, カモシカ特別保護区と旧扉入山辺休猟区において主に調査をした。1975年8月下旬から1977年12月初旬までに得られた, 135個のツキノワグマの糞の内容と採食活動痕を分析し, 6月中旬から12月初旬までの食性を明らかにすることができた。<BR>ツキノワグマは雑食性であるが, 植物性食物に強く依存している。6月から7月には動物性食物が重要であるが, 8月から10月には動物性食物とともに植物性食物に強く依存するようになり, 11月から12月には一層植物性食物に強く依存する。<BR>動物性食物の大半は昆虫類で占められ, アリ類 (Formicidae) , 特にアカヤマアリの成虫が重要である。次いでハチ類 (VespidaeとApidae) の成虫がよく利用された。アリ類は全期間に出現し, 最も基本的な動物性食物である。ハチ類は9月~12月まで出現した。哺乳類では, ノウサギとニホンカモシカが食べられたが, 出現頻度は低い。<BR>植物性食物では, 液果・核果類と堅果類が重要である。液果・核果類は, 8月から12月初旬まで出現し, 10月中旬までは重要な地位を占めるが, それ以後その地位を失う。堅果類は9月下旬から12月初旬まで出現し, この時期のツキノワグマにとって最も重要な食物である。液果・核果類では, アケビ類, 次いでタラノキが, 堅果類ではミズナラが最もよく利用された。<BR>この3年間ではミズナラに隔年結果現象がみられ, 1976年秋は不作であったが, 1977年の秋は豊作であった。この現象はツキノワグマの食性に影響し, 1976年にはミズナラがほとんど利用されなかったが, 1977年にはよく利用された。<BR>ツキノワグマを保護するためには, ミズナラを初め, 多様な構成樹種をもった広葉樹林を維持する必要がある。

著者

高田 滋 青木 一生

出版者

日本エアロゾル学会

雑誌

エアロゾル研究 (ISSN:09122834)

巻号頁・発行日

vol.10, no.2, pp.95-105, 1995-06-20 (Released:2010-07-22)

参考文献数

49

被引用文献数

1

著者

宮田 和久 高田 栄三 高橋 重清 高橋 英一

出版者

一般社団法人 日本体育学会

雑誌

日本体育学会大会号

巻号頁・発行日

vol.33, 1982

著者

高田 朝子

出版者

株式会社 リクルート リクルートワークス研究所

雑誌

研究紀要 Works Review (ISSN:24350699)

巻号頁・発行日

vol.3, no.9, pp.1-14, 2008 (Released:2019-12-16)

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有能なミドルにとって有効な人脈を構築することは不可欠な要素であった。本研究では人脈構築のプロセスに焦点を当て,ミドル30名のインタビュー調査を行なった。その結果,「自分は相手のことを助けることが出来る」という仕事に対する自己効力感と「相手が自分の事を助けてくれる」という他人の行動への自信感の二つが人脈構築の根底にあることを指摘することができた。

著者

高田 熱美

出版者

九州大学医療技術短期大学部

雑誌

九州大学医療技術短期大学部紀要 (ISSN:02862484)

巻号頁・発行日

no.5, pp.1-12, 1978-03-25

著者

高田 実

出版者

慶應義塾経済学会

雑誌

三田学会雑誌 (ISSN:00266760)

巻号頁・発行日

vol.96, no.4, pp.665(203)-669(207), 2004-01

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書評

著者

西園 昌久 高橋 流里子 対馬 節子 松永 智子 福屋 靖子 土屋 滋 大貫 稔 高橋 美智 浅野 ふみぢ 小松崎 房枝 鈴木 小津江 平山 清武 中田 福市 鈴木 信 壁島 あや子 名嘉 幸一 鵜飼 照喜 福永 康継 浪川 昭子 高田 みつ子 岩渕 勉 森脇 浩一 加藤 謙二 早川 邦弘 森岡 信行 津田 司 平野 寛 渡辺 洋一郎 伴 信太郎 木戸 友幸 木下 清二 山田 寛保 福原 俊一 北井 暁子 小泉 俊三 今中 孝信 柏原 貞夫 渡辺 晃 俣野 一郎 村上 穆 柴崎 信吾 加畑 治 西崎 統 大宮 彬男 岩崎 徹也 奥宮 暁子 鈴木 妙 貝森 則子 大橋 ミツ 川井 浩 石川 友衛 加世田 正和 宮澤 多恵子 古賀 知行 西川 眞八 桜井 勇 三宅 史郎 北野 周作 竹洞 勝 北郷 朝衛 橋本 信也 斉藤 宣彦 石田 清 畑尾 正彦 平川 顕名 山本 浩司 庄村 東洋 島田 恒治 前川 喜平 久保 浩一 鈴木 勝 今中 雄一 木内 貴弘 朝倉 由加利 荻原 典和 若松 弘之 石崎 達郎 後藤 敏 田中 智之 小林 泰一郎 宮下 政子 飯田 年保 奥山 尚 中川 米造 永田 勝太郎 池見 酉次郎 村山 良介 河野 友信 Wagner G. S. 伊藤 幸郎 中村 多恵子 内田 玲子 永留 てる子 石原 敏子 河原 照子 石原 満子 平山 正実 中野 康平 鴨下 重彦 大道 久 中村 晃 倉光 秀麿 織畑 秀夫 鈴木 忠 馬渕 原吾 木村 恒人 大地 哲郎 宮崎 保 松嶋 喬 桜田 恵右 西尾 利一 森 忠三 宮森 正 奥野 正孝 江尻 崇 前沢 政次 大川 藤夫 関口 忠司 吉新 通康 岡田 正資 池田 博 釜野 安昭 高畠 由隆 高山 千史 吉村 望 小田 利通 川崎 孝一 堀 原一 山根 至二 小森 亮 小林 建一 田中 直樹 国府田 守雄 高橋 宣胖 島田 甚五郎 丸地 信弘 松田 正己 永井 友二郎 向平 淳 中嶌 義麿 鎮西 忠信 岡田 究 赤澤 淳平 大西 勝也 後藤 淳郎 下浦 範輔 上田 武 川西 正広 山室 隆夫 岡部 保 鳥居 有人 日向野 晃一 田宮 幸一 菅野 二郎 黒川 一郎 恩村 雄太 青木 高志 宮田 亮 高野 純一 藤井 正三 武内 恵輔 南須原 浩一 佐々木 亨 浜向 賢司 本田 麺康 中川 昌一 小松 作蔵 東 匡伸 小野寺 壮吉 土谷 茂樹 岡 国臣 那須 郁夫 有田 清三郎 斎藤 泰一 清水 強 真島 英信 村岡 亮 梅田 典嗣 下条 ゑみ 松枝 啓 林 茂樹 森 一博 星野 恵津夫 正田 良介 黒沢 進 大和 滋 丸山 稔之 織田 敏次 千先 康二 田中 勧 瓜生田 曜造 尾形 利郎 細田 四郎 上田 智 尾島 昭次 大鐘 稔彦 小倉 脩 林 博史 島 澄夫 小池 晃 笹岡 俊邦 磯村 孝二 岩崎 栄 鈴木 荘一 吉崎 正義 平田 耕造

出版者

Japan Society for Medical Education

雑誌

医学教育 (ISSN:03869644)

巻号頁・発行日

vol.15, no.3, pp.145-173, 1984

著者

高田道見 著

出版者

仏教館

巻号頁・発行日

1906

著者

境野 健太郎 三浦 研 神吉 紀世子 高田 光雄

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.72, no.611, pp.15-22, 2007

参考文献数

26

被引用文献数

1 2

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This study analyzed the original plans of all houses and the process of renovation at an independent ward in a sanatorium for Hansen's disease patients, and clarified how differences of house plans affected the process of living environment improvement. The results are as bellows: 1) The house plans were classified into 6 types. Based on this classification, the features of house scale, construction process and room layout were clarified. 2) Layout of storage spaces affected the direction of house extension. 3) The kitchen and dining areas at houses constructed by the institution were smaller than ones constructed by residents themselves. 4) 90% of three-tatami-mat-rooms were extended, and on the other hand, only 20% of 4.5 tatami-mat-rooms were extended. 5) Because the houses constructed at the later stage were built at the fringe of the site, most of them were easily extended.

著者

高田 兼太

出版者

伊丹市昆虫館

雑誌

伊丹市昆虫館研究報告 (ISSN:21877076)

巻号頁・発行日

vol.9, pp.9-11, 2021-03-31 (Released:2021-12-23)

著者

高田 兼太

出版者

伊丹市昆虫館

雑誌

伊丹市昆虫館研究報告 (ISSN:21877076)

巻号頁・発行日

vol.9, pp.5-8, 2021-03-31 (Released:2021-12-23)

著者

高田 康史 中尾 道子 生関 文翔

出版者

一般社団法人 日本体育学会

雑誌

日本体育学会大会予稿集

巻号頁・発行日

vol.68, pp.264_2, 2017

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<p> 本研究では、ヒップホップダンスをリズム系ダンスの素材として捉えその特徴を明らかにすることで、この領域の指導方法に関する基礎資料を得ることを目的とする。中村(2016)は、創作ダンスを「モダンダンスを元に考案された教育教材」、現代的なリズムのダンスを「ヒップホップなどを元に考案された教育教材」、細川(2014)は「指導法を検討するにあたっては、やはりヒップホップダンス等リズム系のダンスについてその歴史や文化、踊りの意味を我々はもっと学んでいかなければならない」と述べ、素材としてのヒップホップダンスを再考することが必要視されている。</p><p> そこで、本研究では仮説的に、ヒップホップダンスで行われている活動について、「観客」「踊り手」の様相から「振付型(踊り手-観客分離型)」「ダンスバトル・サイファー型(踊り手-観客交代型)」「DJ TIME型(総踊り型)」の3つに分類し、それぞれの活動の特徴を明らかにした。本研究では、対象を高校生ダンサーとした質問紙調査法により、その「楽しさ・特性」や「難しさ・困りごと」を検討している。詳しい結果及び考察は当日発表する。</p>

著者

高田 修

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.253, pp.1-38, 1968-03-30

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1. Introduction. 2. Priest Kūkai's Rôle in Building the Lecture Hall and Setting up its Statues. 3. The Twenty-one Statues in the Lecture Hall and their Arrangement. a. Identification of the Statues, Especially of a Group of Five Bodhisattvas. b. The Original Arrangement. 4. A Unique Mandala-like Composition of Twenty-one Statues and the Mandala for the Benevolent King Sutra Ritual. a. An Outline of the Usual Mandala for the Benevolent King Sutra Ritual. b. A Group of Five Vidyārājas in the Lecture Hall and in the Mandala System. c. A Group of Five Bodhisattvas and their Relation to the Five Quarter Bodhisattvas in the same System. d. Iconography of the Guardian Image in the Lecture Hall: Brahmā and Indra, and Four Lokapālas. 5. The Original Vajrayānistic Meanings of the Images in the Lecture Hall. 1. The construction of the Lecture Hall of the Tōji (Kyōōgokuji) was started in 825 and was completed toward the end of 834 under the supervision of Priest Kūkai. In 1486 the original hall was destroyed by fire and the present one was rebuilt after that time. But it seems that the latter retains the original dimensions rather well. Housed in the building are five Buddhas, five Bodhisattvas, five Vidyārājas, Brahmā and Indra, and four Lokapālas. Except for the six images (five Buddhas and the central Bodhisatt. va), the rest of the existing statues are originals made in the ninth century for this hall. Although they contain repaired parts, they occupy a very important position in the history of Japanese art as the earliest works of sculpture of Esoteric Buddhism. These statues are orderly arranged and form a three-dimensional Karma-mandala. It has long been said to be a mandala particular to the Jênwang-ching (Benevolent King Sutra) ritual. But it does not necessarily correspond with its Kalpa (ritual practice manual), Jên-wang-ching-i-kuei (Taisho 994), the translation of which into Chinese is attributed to Amoghavajra, thus causing some present-day scholars to doubt this theory. The author of the present paper attempts to reexamine the arrangement of the statues in the hall and to determine the peculiarity of the plan of the mandala and its Esoteric Buddhist singnificance by refering to many historical documents and Buddhist literary materials. 2. While the Tōji was under construction it was given to Kūkai by the imperial court in 823. The construction of the Lecture Hall was his first task in the Tōji. But the plan of the architecture had already been settled by the court and it seems that he just followed it. What he could do to realize his own ideals based on the new religion which he had brought from T'ang China was in the plan of the design of the mandala consisting of the statues in the Lecture Hall. Therefore, though their completion took place in 829, four years after his death, the selection, form and arrangement of the statues could safely be said to have been the innovation of Kūkai himself. 3. The twenty-one statues in the hall have had traditional names since an early date. As for most of the images, the identification yields no room for question. But in the case of the five Bodhisattavas the identification is not yet settled. According to the author, they are the head Bodhisattvas of the five sections of Vajradhātu-mandala. Four of these five Bodhisattvas show forms identical with or very close to those of the Catur-mudrā-mandala (one of the nine subsidiary mandalas of the Vajradhātu). But the central one, Vajrapāramitā (Vajravajri), seems to be based on the Bodhisattva of the same name in the Kalpa of the Jên-wang-ching. The present arrangement of the twenty-one statues is what was formed after the fire in the fifteenth century and it cannot be regarded as the original one. As for the arrangement before the fire, there exist today three drawings of plans of the tenth, twelfth and fourteenth centuries respectively. It is to be noted that there are some differences even among these three drawings. These differences must have been due to the changed arrangements which took place when large-scale repair programs were carried out. The oldest one among the three drawings (dated 922), which was made by Shinjaku, differs clearly from the others in that the positions and combinations of the images are quite rational. For instance, it places the three corresponding deities, Aksobhya (Buddha), Vajrasattva (Bodhisattva) and Trailokyavijaya (Vidyārāja) in the direction of the southeast. This sort of rational arrangement must have been the original idea of the initial planner whose design was intended to form a unified mandala. Moreover, it is noteworthy that this drawing was made no later than about eighty years after the completion of these statues. It shows most probably their original arrangement. 4. The next question is what kind of mandala was intended to be composed here. Is the heretofore most prevailing theory that it was a Jênwang-ching mandala acceptable? Roughly speaking, there are two types of Jên-wang-ching mandala : one consisting of five Bodhisattvas based on the Jên-wang-ching sutra of the older translation, and the other in which the main images are the five Vidyārājas formed after the practice manual of the Jên-wang-ching of the later translation. Both of these were used in the ritual practice for such purposes as promoting peace and welfare in the state as well as for overcoming supposed enemies. But, the arrangement of deities in the Lecture Hall of the Tōji cannot be regarded as a usual Jên-wang-ching mandala as it includes five Buddhas which are referred to neither in the sutra nor the practice manual of it, and as the five Bodhisattvas here are the head Bodhisattvas of the Vajradhātu-mandala. Here we should pay attention to a set of five ink drawings attributable to the five-direction deities mentioned in Jên-wang-ching. They are supposed to have been brought back from China by Kūkai and are now preserved in the Daigoji and in the Tōji in the shape of faithful copies. They illustrate one by one the deities of the five directions—the four cardinal directions and the center-each treating two Bodhisattvas (the Vajrapāņi type and the usual type), one Vidyārāja, and one of the five guardian deities (Indra and four Lokapālas). For the most part, they correspond to the range of deities in the Lecture Hall of the Tōji and, in addition to that, the five Vidyārājas illustrated here have almost the same form as those in the Lecture Hall. We might safely assume that the kinds of deities in the Lecture Hall were determined in reference to this set of drawings. If this is true, the general idea shows that it was derived from the Jên-wang-ching mandala. The problem here, however, is that the five Bodhisattvas in the Lecture Hall take the appearence of the head Bodhisattvas of Vajradhātu-mandala as mentioned above and do not correspond with the five Bodhisattvas referred to in the practice manual of Jên-wang-ching sutra. But, the central one, Vajrapāramitā is apparently a Bodhisattva of this sutra and the others also embody some elements which can be connected with the Jên-wang-ching ritual. Moreover, according to the doctrine of Esoteric Buddhism, these five Bodhisattvas correspond to the five Bnddhas and the five Vadyārājas concerned. In other words, the primary images in the Lecture Hall, consisting of three groups of five deities, are nothing but the five substantial Buddhas and their two types of transfiguration, the Bodhisattvas as instructive being and the Vadyārājas as protectors. This indicates that the primary images in the Lecture Hall of the Tōji have dual characteristics based on the Vajradhātu ritual and the Jên-wang-ching ritual. As to the six guardian figures, five of them (Indra and four Lokapālas) follow what is mentioned in Jên-wang-ching. The other guardian figure, Brahmā, was probably added to make a symmetrical arrangement and to retain the traditional combination of Indra and Brahmā. Thus this mandala formed by the twenty-one orderly arranged statues has a double meaning, yet the system of Jên-wang-ching mandala is predominant. 5. All the signs point to the likelihood that the planner of such a mandala system cannot but have been Kūkai. Certainly Kūkai must have prepared several tentative plans for the arrangement of the deities in the Lecture Hall. A unique mandala called “Daishi Honzon Zu (Mandala Scheme made by Kūkai)”, which seems to be the work of Kūkai, is possibly one of them. This mandala puts emphasis on Buddhas and Bodhisattvas while the five Vadyārājas have only minor significance. It may be the result of placing importance on the Shou-hu-kuo-chieh-chu-ching (Sutra of the Protection of the State Lord; Taisho 997), one of the sutras promoting the peace of the state. A scheme showing the relationship of deities as written in 839 by Shinnen, a disciple of Kūkai, must have been one of the tentative plans as well. Here the elements of the Jên-wang-ching ritual are predominant, and this scheme is very close to the actual arrangement of the Lecture Hall deities. This fact leads us to assume that it become virtually final plan. The composition of the deities for the Lecture Hall's unusual mandala was thus decided, and the plan was fulfilled after his death. Thus Kūkai intended to make the hall the center of his newly introduced Esoteric practices that were carried on as prayers for the peace and welfare of the state. It was closely related to his efforts to meet the demands of the Early Heian Period when the prevalent thought was the protection of the state by Buddhism. In fact, we find in the career of Kūkai that he put stress on the Shou-hu-kuo-chieh-chu-ching and the Jên-wang-ching which he had brought back from China, and tried to promote the new rituals based on these sutras. In short, the deities of the Lecture Hall of the Tōji were planned by Kūkai himself who wanted to realize his ideal. It means that they are not only the objects of worship installed in the Hall, but they also compose a unique mandala for the ritual of Buddhist protection of the state.

著者

渡辺海旭 矢吹慶輝 小沢一 高田慎吾著

出版者

日本図書センター

巻号頁・発行日

2010

著者

熊澤 貴之 高田 大稀

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

no.757, pp.591-599, 2019-03

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&nbsp;In recent years, as the size of displays have become larger, the number of installed outdoor street vision around station intersections have increased year by year. However, there are not sufficient rules to regulate outdoor street vision. Besides, there are no previous studies that have quantitatively examined the causal relationship between physical environmental factors and psychological evaluation of the landscape with outdoor street vision. It is necessary to quantitatively consider the relationship between the physical environmental factors of outdoor street vision and human reactions. In addition, it is necessary to demonstrate concrete guidelines in order to maintain an attractive landscape. Therefore, landscape simulation experiments were conducted using a 1:100 model, in which physical environmental factors such as the number of installed street vision and its size were changed. Subsequently, based on the obtained data, the factors that prescribe landscape evaluation are quantitatively examined.<br><br>&nbsp;As a result of clarifying the factors that regulate landscape evaluation around the intersection of a station with outdoor street vision, the following three points were observed.<br><br>&nbsp;1) Landscape evaluation around station intersections was strongly influenced by outdoor advertisements. Furthermore, it was confirmed that the influence of outdoor street vision is stronger than those of wall advertisements and rooftop advertisement towers.<br><br>&nbsp;2) As a result of evaluating the landscape around the intersection in front of a station, it was confirmed that the feeling of bustle and sense of brightness increase in proportion to the size of the advertisements. Consequently, it was confirmed that the sense of cohesion and comfort decreased in inverse proportion to size of the advertisements. In addition, the bustle and brightness feelings increase when the installation ratio of the outdoor street vision is high, while the sense of cohesiveness and comfort are increased when the installation ratio of the outdoor street vision is low.<br><br>&nbsp;3) In the vicinity of the intersection in front of the station, the comfortable feeling is maximum with the installation ratio of the street vision of 2%. It would be better if there was no street vision than there was not. The installation ratio 5% to 5.5% is an equilibrium point that satisfies 4 scales. When this level is exceeded, the downside is conspicuous in terms of cohesiveness and comfort. It is the limit of the allowable range with the installation ratio of 8%.<br>&nbsp;Based on the above findings, a landscape formation index around the station crossing is described. The upper limit of the percentage of street vision to be installed should be 5% to 5.5%, which is the equilibrium point. It is reasonable to set the allowable range to 8% or less.

著者

西村 栄津子 三井 浩 谷 万喜子 高田 あや 鈴木 俊明 柳生 隆視 木下 利彦

出版者

関西医療大学

雑誌

関西医療大学紀要 (ISSN:18819184)

巻号頁・発行日

vol.3, pp.115-120, 2009

著者

高田 馨里

出版者

大妻女子大学

雑誌

大妻比較文化 : 大妻女子大学比較文化学部紀要 (ISSN:13454307)

巻号頁・発行日

no.16, pp.62-71, 2015-03

著者

高田 馨里

出版者

大妻女子大学比較文化学部

雑誌

大妻比較文化 = Otsuma journal of comparative culture (ISSN:13454307)

巻号頁・発行日

no.21, pp.67-90, 2020