著者

森本 純一郎 Junichiro MORIMOTO 東京工芸大学芸術学部非常勤 Tokyo Polytechnic University Faculty of Arts Lecturer

出版者

東京工芸大学芸術学部

雑誌

芸術世界 (ISSN:13493450)

巻号頁・発行日

no.15, pp.117-124, 2009

著者

楊 焮雅 伊藤 剛

雑誌

東京工芸大学芸術学部紀要 = Bulletin of Faculty of Arts, Tokyo Polytechnic University (ISSN:13493450)

巻号頁・発行日

vol.27, pp.25-36, 2021-03-31

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With the advent and widespread of web-based manga, expressions that differ from traditional paper-based manga haveoften been observed. "Vertical scrolling manga", which readers scroll vertically, is at the core of such new formats ofexpressions. Here, we argue the following two terms to use. One is "条漫" (in Japanese: jouman, in Chinese :Tiaoman), whichis generally used for vertical scrolling manga in Chinese, and another is " 頁漫" (in Japanese: pejiman, in Chinese :Yeman),traditional paper-based manga.Also in this paper, we reexamine the concept of pages, which is usually defined by the physical conditions of paper media.Therefore, in reading a certain panel of manga, when the series of panels that the readers have to read to understand theone in question match the frame of upper level that is consists of panels in eyeshot, we newly define the frame as a page.This redefinition of the page concept provides an understanding of the essential difference between“ jouman” and“ pejiman”.

著者

木船 園子

出版者

東京工芸大学

雑誌

芸術世界 (ISSN:13493450)

巻号頁・発行日

no.11, pp.77-82, 2005

著者

百束 朋浩 Tomohiro HYAKUSOKU 東京工芸大学芸術学部映像学科 Department of Imaging Art Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.22, pp.1-7, 2016

著者

小川 真理子 Mariko OGAWA 東京工芸大学芸術学部基礎教育課程 Division of Liberal Arts and Science Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 (ISSN:13493450)

巻号頁・発行日

no.14, pp.101-106, 2008

著者

百束 朋浩

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.22, pp.1-7, 2016

著者

楊 焮雅 伊藤 剛

雑誌

東京工芸大学芸術学部紀要 = Bulletin of Faculty of Arts, Tokyo Polytechnic University (ISSN:13493450)

巻号頁・発行日

no.27, pp.25-36, 2021-03-31

---

With the advent and widespread of web-based manga, expressions that differ from traditional paper-based manga haveoften been observed. "Vertical scrolling manga", which readers scroll vertically, is at the core of such new formats ofexpressions. Here, we argue the following two terms to use. One is "条漫" (in Japanese: jouman, in Chinese :Tiaoman), whichis generally used for vertical scrolling manga in Chinese, and another is " 頁漫" (in Japanese: pejiman, in Chinese :Yeman),traditional paper-based manga.Also in this paper, we reexamine the concept of pages, which is usually defined by the physical conditions of paper media.Therefore, in reading a certain panel of manga, when the series of panels that the readers have to read to understand theone in question match the frame of upper level that is consists of panels in eyeshot, we newly define the frame as a page.This redefinition of the page concept provides an understanding of the essential difference between" jouman" and" pejiman".

著者

酒井 孝彦 Takahiko SAKAI 東京工芸大学芸術学部写真学科 Department of Photography Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 : 東京工芸大学芸術学部紀要 (ISSN:13493450)

巻号頁・発行日

no.18, pp.115-119, 2012

著者

百束 朋浩

出版者

東京工芸大学芸術学部

雑誌

東京工芸大学芸術学部紀要 = Bulletin of Faculty of Arts, Tokyo Polytechnic University (ISSN:13493450)

巻号頁・発行日

no.27, pp.13-23, 2021-03-31

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Abstract XR is generally is frequently used as a shorthand to group technologies such as VR, AR and MR. VR have the capabilityof creating a virtual world with various kinds of realistic metaverse, but the flow of time in those worlds is constant.Therefore VR is widely used as a simulator. AR is a technology that gives the realistic world information with a sense ofreality, and the flow of time is the same as in the real world. XR has the potential to develop into an industry as a newvisual media technology that does not control time. This paper examines the technological evolution of XR, and whether ithas the potential to develop into a new contents industry from the technological perspective.

著者

百束 朋浩 Tomohiro HYAKUSOKU 東京工芸大学芸術学部映像学科 Department of Imaging Art Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.23, pp.27-34, 2017

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The purpose of this paper is to compare the difference between the narrative composition of the movie and the cartoon by the behavior of the heroine "Azuki", and to examine the characteristics of each media expression. The heroine in the original nestles closely with the main character, but the heroine of the movie leaving the main character. Original manga can be categorized into a genre called manga cartoonist manga. Its characteristic is that it has a multiple structure that serializes in the "Weekly Jump" while exposing the inside of manga production (such as a questionnaire system, artist's exclusive contract etc..), with the actual editor appearing in real name. The movie always has time constraints. Therefore, elements to be drawn are limited. Movie can't have a complex structure having two or more motifs simultaneously. The movie "Bakuman" dismantled the multilayered structure that is not good, focused on two pairs of rival relations. The movie is a story of young people who aim for manga artists, aiming for first place in "Weekly Jump" magazine, but is not a youth group image. Mashiro, Takagi two people, one manga artist works hard with a genius manga artist "Eiji Nizuma", and eventually it is a story of a confrontation that gains first place in a jump magazine questionnaire. In the original, it is a growing story that the leading character Mashiro becomes a cartoonist, and at the same time it is as story that grows as a heroine Miho Azuki as a voice actor. The stratification of the story is here as well. For the hero heroine is a partner and it is also a rival at the same time. In other words, the hero and the heroine have a man's friendship relationship. In other words, "Bakuman" is also a self-contained story of main character.

著者

河野 邦彦 Kunihiko KOHNO 東京工芸大学芸術学部写真学科 Department of Photography Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 (ISSN:13493450)

巻号頁・発行日

no.6, pp.3-20, 2000

著者

久原 泰雄 Yasuo KUHARA 東京工芸大学芸術学部メディアアート表現学科 Department of Media Art Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 (ISSN:13493450)

巻号頁・発行日

no.14, pp.43-62, 2008

著者

西村 安弘

出版者

東京工芸大学芸術学部

雑誌

東京工芸大学芸術学部紀要 = Bulletin of Faculty of Arts, Tokyo Polytechnic University (ISSN:13493450)

巻号頁・発行日

vol.27, pp.1-11, 2021-03-31

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A short story“ Theme of the Traitor and the Hero” by Jorge Luis Borges has an antinomic plot in which an activist forIreland’s independence is both a traitor and a hero at the same time. Two films based on this story, The Man Who Liesby Alain Robbe-Grillet and The Spider’s Stratagem by Bernardo Bertolucci, introducing a theme of the doubles, switchthe background of Ireland’s independence to anti-Fascist resistance. Robbe-Grillet’s leading character calls himself BorisVarissa or Jan Robin and one shoots down the other at the end. Through the absurd lives of the doubles, it exposes thevacancy of narration. In Bertolucci’s film, a father and a son who have the same name Athos Magnani are played by Giulio Brogi alone. Theson tires to reveal the truth of his father’s assassination in Tara and his investigation causes the symbolic killing of hisfather. The father unified with the local town makes his son a prisoner. Tara is also the homeland where Scarlett O’Hara repeatedly comes back in The Gone with the Wind. Though Scarlett andMelanie Hamilton are seemed to be the contrast characters, the author Margaret Mitchell divided the original heroine intothese twin characters. For Irish quarter and communist Bertolucci, Tara is the fatherland both where he should abandonand where he dreams to return.

著者

久原 泰雄 Yasuo KUHARA 東京工芸大学芸術学部インタラクティブメディア学科 Department of Interactive Media Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.23, pp.35-44, 2017

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In this paper, I propose the "tweet lyric writing method", which is a method of writing lyrics using Twitter tweets. Recently, many original songs are posted on video-sharing websites and many users not only watch them but also compose music because of the technologies of digital audio workstations such as prominent synthesizers and sequencers. Despite the progress of digital music, for a sound creator, it is rather more difficult to write lyrics than to compose music. On the other hand, many people post text messages on social media about their ideas and feelings in daily life. I noticed that the text messages posted are similar in subject to lyrics and developed a method of writing lyrics using Twitter tweets. In this method, users review their Twitter tweets and analyze their situation and feelings when they posted them. Next, they redescribe them in detail using more concrete words. Finally, they refine the words to poetic description. I applied this method in my seminar on song composition. As a result, many students have acquired the ability to write lyrics to their original songs employing the tweet lyric writing method.

著者

三浦 剛 Tsuyoshi MIURA 東京工芸大学芸術学部デザイン学科ビジュアルコミュニケーションコース Department of Design Visual Communication Corse Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 : 東京工芸大学芸術学部紀要 (ISSN:13493450)

巻号頁・発行日

no.18, pp.161-165, 2012

著者

牟田 淳 Atsushi MUTA 東京工芸大学芸術学部基礎教育課程 Division of Liberal Arts and Science Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.23, pp.65-73, 2017

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Focusing on the relationship between the preferred shape and the aspect ratio, we selected the face as an example of shape and examined the relationship between the preferred face and the facial aspect ratio, based on the hairstyle. We carried out this examination with about 1000 participants in Japan and the West respectively. To determine the aspect ratio of the face, we classified the hairstyle into three types: The hairstyle that revealed the forehead; the hairstyle that concealed the forehead with the front hair dangling; the hairstyle with the front hair divided. These three hairstyles are classified as the elongated face, the not elongated face, and the middle elongated face respectively.As a result, we found that the middle elongated face is favored by about 40 percent of participants and is the most favored of the three hairstyles, statistically. The elongated face and the not elongated face were also each favored both by about 30 percent of participants. Comparing the results that show that a square rectangle is most favored statistically, we found that the preferred aspect ratio of shapes is different between rectangles and faces.Conversely, in the West, we found that the elongated face is favored by more than 90 percent of participants; the results of which are similar to the results that show that a golden rectangle is relatively favored in a rectangle case.

著者

國本 学史 Norifumi KUNIMOTO 東京工芸大学芸術学部基礎教育課程非常勤 Division of Liberal Arts and Science Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 : 東京工芸大学芸術学部紀要 (ISSN:13493450)

巻号頁・発行日

no.18, pp.85-92, 2012

著者

鈴木 万里 Mari SUZUKI 東京工芸大学芸術学部基礎教育課程 Division of Liberal Arts and Science Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 (ISSN:13493450)

巻号頁・発行日

no.13, pp.87-96, 2007

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The relationship of women and literature changed radically by the mid eighteenth century in England. Samuel Richardson's Pamela, which has been often called 'the first novel', focuses the inner experience of a woman. It gave such a great impact upon the society that it determined the heroine type of the following novels throughout the century ; young, beautiful, modest, and vulnerable. It also represented gender positions and politics ; man provided with wealth, being superior, and woman deprived and dependent, inferior. Women had been disadvantaged because of some changes in kinship structures, economic processes, and legal arrangements by the beginning of the century. They first encountered a serious problem of an alienated self. The situation often placed a woman as the main character of the novel. In spite of the realism tradition of the English novels, women writers sometimes adopt a "romance" structure, the traditional pattern from the classic period, in which a prince or a princess is abandoned, adopted and raised by a kind shepherd, eventually recovers his/her original status and wealth. Although this story appears to be a kind of anachronism in the modern bourgeois society, it flourishes in the best-seller novels by women at the end of 18th century. Four novels will be discussed in this article ; Evelina (1778) by Frances Burney, Emmeline (1788) by Charlotte Smith, A Simple Story (1791) by Elizabeth Inchbald and The Romance of the Forest by Ann Radcliffe (1791). These novels bear an implicit resentment of women deprived of the resources to support themselves, trying to convey a challenging message under the disguise of a conservative attitude to the maledominated society.

著者

西村 安弘

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.22, pp.9-18, 2016

著者

西村 安弘 Yasuhiro NISHIMURA 東京工芸大学芸術学部映像学科 Department of Imaging Art Faculty of Arts Tokyo Polytechnic University

出版者

東京工芸大学芸術学部

雑誌

芸術世界 = 東京工芸大学芸術学部紀要 = Artworld : Bulletin of Faculty of Arts, Tokyo Institute of Polytechnics (ISSN:13493450)

巻号頁・発行日

no.22, pp.9-18, 2016