著者
松本 信廣
出版者
慶應義塾大学
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.8, no.4, pp.577-586, 1929-12

第五章 スーズ第二期土器 平印 圓筒 文字 堅牢質の細工 金属 彫り込み土器 テペムーシアン テペ・カジネ 土器 カルデアに於ける金石併用時代の工作 スークナとアイン・タル(アレツプ) スーズ第二期土器の傅播 カルデア及びメソポタミイ シリアとパレスチン 西亞の北方 西亞に於いて使用せられたる種々の岩石及びその起源地
著者
松本 信廣
出版者
慶應義塾大学
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.8, no.2, pp.295-303, 1929-08

第一章 シリア及びメソポタミアの舊石器シリアの新石器第二章 西亞に於ける黒曜石 : 露領アルメニアの鑛脈第三章 カルデア及びスーズ平原の形成第四章 カルデア及びエラムの殖民カルデアスージアンスーズの第一都市スーズの燧石器スージアンの原始文明
著者
大喜 直彦
出版者
三田史学会
雑誌
史學 = The historical science (ISSN:03869334)
巻号頁・発行日
vol.89, no.1, pp.107-129, 2020-10
著者
三宅 和朗
出版者
三田史学会
雑誌
史學 = The historical science (ISSN:03869334)
巻号頁・発行日
vol.89, no.1, pp.83-105, 2020-10
著者
尾崎 貴久子
出版者
三田史学会
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.88, no.3, pp.73(343)-101(371), 2020-05

はじめに第一章 『回回薬方』の腹部損傷の記述の引用元について第二章 腹部損傷の処置記述の翻訳比較おわりに論文
著者
黒田 寿郎
出版者
三田史学会
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.40, no.2, pp.309-329, 1967-11

一 ウマイヤ朝後期の位置二 分極化の方式三 分極化の過程松本信廣先生古稀記念
著者
本郷 広太郎
出版者
三田史学会
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.24, no.1, pp.130-131, 1949-10

彙報
著者
山田 春雄
出版者
三田史学会
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.24, no.4, pp.148(588)-149(589), 1951-04

彙報
著者
柳田 利夫
出版者
三田史学会
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.61, no.1, pp.p1-22, 1991-12

八 他地域への渡航禁止II九 フィリピンからの報告IV十 他地域への渡航禁止III十一 むすび
著者
前嶋 信次
出版者
慶應義塾大学
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.41, no.4, pp.499-528, 1969-03

一 アレクサンドロス伝説の流布二 日本角(ドゥル・カルナイン)という名称三 ゴグとマゴグの長城四 マルコ・ポーロの伝えたゴグ・マゴグの長城五 アッバース朝カリフの長城への遣使六 サルラーム等の行程についての諸説
著者
芦田 均
出版者
三田史学会
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.19, no.4, pp.1(585)-65(649), 1941-03

一 墺太利の特異性二 世界戦後の墺太利三 歐洲の勢力均衡と墺太利四 ザイペルよりドルフスへ五 ドルフスの獨裁制六 ナチのクーデタ七 國際情勢の急迫八 墺太利の臨終
著者
具 蘭憙 中野 高行
出版者
三田史学会
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.76, no.2, pp.177-200, 2007-12

一 はじめに二 天平宝字~神護景雲年間(七五七~七六九年)三 宝亀年間(七七〇~七八〇)四 延暦年間(七八二~八〇五)五 おわりに論文
著者
可児 弘明
出版者
三田史学会
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.45, no.3, pp.1-46, 1973-05

The object of this paper is to discuss as comprehensively as possible Chinese paper charms in the changing society of Hong Kong. There are collected seven kinds of paper mock money, seven kinds of paper mock clothes, and nearly forty kinds.of paper charms that are sold in Hong Kong in the early 1970's. As long as the paper charm is a materialization of the Taoist cult, the paper charm must be drawn up by the Taoist priest. This is what the paper charms and other magic scripts should be. In fact, it was one of the chief pursuits of Taoist priests in the former days to draw up paper charms. In Hong Kong today, however, paper charms are "ready to use" ones, which are printed in factories in large quantities and are passed from wholesalers to superstitious believers through the retail shops in towns and villages. There are more than three hundred and fifty paper charm shops isted in the yellow pages of the local telephone directory for 1970. All these shops are small in size and run by people whose schooling is generally less than five years in duration. Authentic ritual experts are hardly to be found throughout this industry. The industry as a whole seems to be depend on one's knowledge of how to choose the most suitable paper charms according to each case. This practical knowledge has been handed down by word of mouth. Being ready made, paper charms are easily obtainable from the retail shops found eleswhere in Hong Kong at a reasonable price. Rites with these charms are also simple, generally "do-it-yourself" projects with no priests needed. The rite can be performed at the nearest temples, at the gate of the house, or even by the roadside. Incense, red candles and foods would be offered there. Murmuring against desires one has, one burns paper charms, mock money, mock cloth and sometimes papier mache. One specific characteristic of local paper charms is then transformation from Taoist document such as Su 疏 or petition, Tieh 牒 or communication/order, Ch'uan chang 全章 or order, and P'ai 牌 or notification to paper charms. Each of these Taoist documents is modelled after official documents of the country during, dynastic periods. Originally each of the Taoist documents ought to be read by the Taoist priests during the rite, and burnt at the final stage of the rite. However, as the rite itself has been abridged in Hong Kong, so the document has also been abridged. Only the envelope in which originally the document was enclosed, is burnt as a sort of paper charm. Unlike the ordinary paper charms in due form, local paper charms include many illustrated ones. Magic words are sometimes completely replaced by the illustrations. Another type of local paper charm is the "Composite charm" on which the paper charm in due form, illustrations, documents, etc. are combined. While rural people still paste lucky or exorcising charms on door gates, urban people who are packed into modern skyscrapers pay less attention to door charms. Urban people sometimes burn those door charms instead of pasting them in. In general, however, both rural and urban people still share the same kind of paper charms. Although there were many kinds of paper charms in old China, local paper charms under the mass-printing system of today have only limited kinds. Many kinds of paper charms seem to have been abolished in the course of time. In the earlier stage there were many kinds of paper charms for curing people of diseases, whereas we find only one local paper charm for that purpose. Both modern sanitation practices and up-to-date medical facilities have spread so far and wide, that paper charm curing for diseases has been abolished accordingly. There were also many paper charms for fecundity, especially those for granting boys, as well as paper charms for easy delivery. To have numerous children was a great desire of all Chinese, since manpower was essential to the agrarian communities. To have many boys was a great desire of all family members too, since men bore the responsibility for ancestor worship which was considered as the greatest duty of human beings. Child-bearing women begged to grant them easy delivery, since unfortunate mothers who died in childbirth were allegedly said to de plunged into the Bloody Pond of Purgatory. Then, there were also many paper charms preserving the children from the effects of malicious ghosts and of all diseases, since the death rate of infant children was higher than it is now. Modernization of Hong Kong in terms of econmic life, family pattern and sanitary improvement, all in all, have made a clean sweep of paper charms concerned, leaving only four kinds of paper charms. It ia fair to say that the present variation of Hong Kong paper charms has settled down after a double impact in the past, that is to say, the mass-printing system and social changes. All paper charms today have been singled out for survival; in other words, they have been adhered to so deeply that they could survive among numerous paper charms in the past. Of the present local paper charms, the best seller is "Grand Catastrophes", a collection of selected paper charms, mock money mock cloth and a paper boat to which the sickness or misfortunes are transferred. This is a manifestation of people's desire to avoid the troublesome choice of paper charms. " Orders for Five Treasures" is one of the good sellers. It consists of five different paper charms, each in the form of an envelope, conferring happiness, emolument, longevity, wealth and a harmonious union respectively. Then, there is a variety of paper charms concerning Kwai-yan (貴人) or Honourable Man and Luk-ma (緑馬) or Green Horse. I feel these paper charms stand in some relation to the social life of Hong Kong where human relationship is very much complicated and mobile. Throughout local paper charms today, such traditional conceptions as the horoscope, the time of birth for life-reading purposes, barriers, malicious ghosts, wandering ghosts, five demons, earth spirits, etc., are still performing valuable functions among the traditional minded Cantonese of this part of the world. Comparing Taiwanese Taoist rites conducted by real Taoist priests with local paper charms, it is suggested that the paper charms represent a simplified version of the original rites. The rite itself is transferred onto the paper charms, since illustrations on paper charms sometimes represent paper gods and paper offerings used for rites. Taoist documents on paper charms are also reduced, and simplified drawings of the documents are burnt as magic papers. It is understood that replacement of actual rites by paper charms was, perhaps, brought about by a lack of real Taoist priests. A lack of real Taoist priests impilled the society to produce the paper charms with illustrations, so that Taoism could survive even in a society without real Taoist priests. As I understand it, Taoist rites have continued vin a new and popularized form : the paper charm shop. The industry of paper charms is not, therefore, merely the corruption of Taoist rites but one of the new forms by which the Taoist rites could continue to survive persistently even in such a changing society as Hong Kong.I 紙銭及び紙衣II 符疏III 所見論文
著者
長谷山 彰
出版者
三田史学会
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.66, no.1, pp.1-31, 1996-09

はじめに一 獄令条文の解釈からみた京職の裁判権二 京職の民政と裁判三 唐獄官令の継受と京職の裁判権四 唐京兆府と京職の比較おわりに
著者
周 暁霞
出版者
三田史学会
雑誌
史学 (ISSN:03869334)
巻号頁・発行日
vol.81, no.4, pp.155(687)-166(698), 2013-01

はじめに一 本書の構成と内容二 本書への提言(一)性別役割分担について(二)天皇制国家秩序における福澤の女性論(三)福澤の女性論と儒学(四)ミドルクラス女性論の限界(五)個人と国家(六)公的世界と女性おわりに書評
著者
伊藤 清司
出版者
三田史学会
雑誌
史學 (ISSN:03869334)
巻号頁・発行日
vol.34, no.3, pp.277-303, 1962-03

The folk-tale called the "Portrait Wife" Story in Japan is of the same type as the "Featherclothing" (鳥衣説話) in China. The latter has been already discussed by W. Eberhard, and the outline of the story is as follows: (cf. Typen Chinesischer Volksmarchen 195, Das Federkleid FFC No. 120.) 1. Ein Mann hat eine so schone Frau, dass er sich nie von ihr trennen kann. 2. Aus wirtschaftlichen Grunden muss er aber Geld verdienen. 3. Die Frau gibt ihm ein Bild von sich mit als Ersatz dafur, dass er sie nicht sehen kann. 4. Das Bild wird vom Wind in den Hof des Konigs getragen. 5. Der Konig lasst sie suchen und holen ; sie wird Konigin. 6. Der Mann macht sich ein Kleid aus Federn und kommt eines Tages auf Verabredung an den Hof und bieted Gemuse an. 7. Seine Frau lacht zum ersten Mai, als sie sieht. 8. Der Konig, der sehr betrubt darubt war, dass sie nie lachte, freut sich, tauscht das Federkleid mit dem Konigskleid. 9. Der mann lasst den ins Federkleid gekleideten Konig toten, wird selbst Konig. This type of stories have been found widely among the Chinese of the several provinces-Chiang-su (江蘇), Che-chiang (浙江), Kuang-tung (廣東), which have been mentioned by Eberhand, and Anhui (安徽), etc.; moreover, it is found among such minorities as Miao (苗), Bai (白), Tibet (藏), Zhuang (僮) and Nasi (納西), etc. of the province of Hu-nan (湖南), Kui-chou (貴州), Ssu-ch'uan (四川), Yun-nan (雲南) and Hsi-kang (西康), etc. These folk stories are often accompanied by the introductory parts which tell how a beautiful woman passed through life before she gets married to a poor young man, and these introductory stories are divided broadly into three groups: 1. a group of stories in which the beautiful woman is a heavenly maiden or a dragon-daughter. 2. a group of stories in which she is high-born, for expample a princess. 3. no introductory stories. The groups (1) and (2) are further divided into some outgroups respectively. We find it difficult to tell which of the above mentioned groups is the original pattern of the introductory part of the "Featherclothing" Story. The "Portrit Wife" stories in Japan also have various kinds of introductory parts, which are classified into three groups as well, and most of which have exactly the same introductory stories as in the "Featherclothing" Story in China. This fact seems to prove that the "Portrait Wife" Story and the "Featherclothing" Story have the same origin. But the problem is not so simple, for we find one remarkable difference between the story in China and that in Japan. In the former, the hero visits his wife in the palace, wearing the feather clothing (rarely the skin clothing) which she commanded him to wear when she was about to be taken out of her house by the emperor; in the latter, as we can see from the fact that this story is not called "Featherclothing" Story, the hero has not received any instruction from her about the clothing to put on. Accordingly I will set forth my own view, which is as follows: It is not in point to presume that the "Featherclothing" Stories that had various kinds of stories in their introductory part came to lose the factor of feather clothing after they came to Japan. Probably they had already lost this factor in China, and got mixed with many folk stories after they came to Japan, and came to have various kinds of stories in their introductory parts. What does the feather clothing-the remarkable factor in the "Featherclothing" Story in China-mean on earth ? The Japanese type of these stories has its originality in lacking that factor, but the heroine in Chinese ones never leaves her husband without commanding him to put on the feather clothing. Why ? The principal point is that the story has the factors where the man is always under the control of his wife who was oridiginally a heaven maiden in the introductory part (for example, the Featherclothing story in Kuantung), and it is by the feather clothing that she makes the poor, honest man happy. I think that it is by the mysterious power that, on wearing, the man's feather clothing, the emperor fall into misery. The folk tale talked among the "Ch'uan Miao" (川苗) is very suggestive in the respect, it runs that a Warty Toad obtained a good wife, became human, and became Emperor, (cf. D. C. Graham: Songs and Stories of the Ch'uan Miao. p.182-183). This is evidently a complex story which contained factors of other stories, and the outline of it is as follows: The emperor stole away the wife of the toad to be his wife. The warty toard followed along after his wife and the emperor. He followed them until they arrived in a big flat. When the warty toad arrived there, he turned somersaults. When he turned over a somersault he turned in to a yangman. When he turned a somersant back again, he turned again into a warty toad. The emperor looked at it, and the wife said to the emper- or., "If you will put on the clothing of the warty toad, I will believe you more." Then the emperor took off his clothing and gave it to the warty toard, and the warty toad took off his skin and gave it to the emperor. The emperor put on that skin and turned over a somersault, and that skin stuck to him, when he turned a somersault back again, he could not take off that skin. Additionally a common factor in the "Featherclothing" Story and the "Portrait Wife" Story-namely the factor that after the wife gave her husband her portrait, it is thrown off by the windseems not to be found in the original pattern of the Stories. But it seems to me that in earlier times-at least before the Story came from China to Japan,-the factor had already come into the Story and made it more interesting.