著者

菊原 伸郎

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 = Journal of Saitama University. Faculty of Education (ISSN:18815146)

巻号頁・発行日

vol.59, no.1, pp.101-106, 2010

著者

小野 和彦

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 = Journal of Saitama University. Faculty of Education (ISSN:18815146)

巻号頁・発行日

vol.66, no.2, pp.513-538, 2017

著者

安原 輝彦

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 = Journal of Saitama University. Faculty of Education (ISSN:18815146)

巻号頁・発行日

vol.67, no.2, pp.189-210, 2018

著者

新井 淑子

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 = Journal of Saitama University. Faculty of Education (ISSN:18815146)

巻号頁・発行日

vol.56, no.2, pp.21-36, 2007

著者

大橋 修一

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 = Journal of Saitama University. Faculty of Education (ISSN:18815146)

巻号頁・発行日

vol.60, no.1, pp.1-3, 2011

著者

谷 謙二

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 = Journal of Saitama University. Faculty of Education (ISSN:18815146)

巻号頁・発行日

vol.66, no.1, pp.167-177, 2017

著者

小林 聡

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 = Journal of Saitama University. Faculty of Education (ISSN:18815146)

巻号頁・発行日

vol.66, no.1, pp.203-228, 2017

著者

渋谷 治美

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要 教育学部 (ISSN:18815146)

巻号頁・発行日

vol.58, no.2, pp.217-232, 2009

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本論考は2008年11月15日(土)に九州大学文学部にて開催された日本カント協会第33回大会の一般研究発表の部で口頭発表した研究を文章化したものである。口頭発表時の題は「『観念論論駁』再論」であった。「再論」ないし「再考」と題した所以は、筆者はこれまで再三再四カントの「観念論論駁」について論文等で論じ、また各種研究発表の機会に口頭で論及し、またカント研究の同志とのあいだにおける私信においても意見を取り交わしてきたからである1)。それらを踏まえたうえで、上記した昨年の口頭発表と本稿とによってこの論題での研究に一区切りつけたいと思う。今回の学会での口頭発表の制限時間は25分であった(その後の質疑に15分が宛がわれた)。これはおよそ400字詰め原稿用紙にして25枚分に当たるが、今回これを大幅に上回って文章化する。Über Kants Widerlegung des Idealismus probiere ich in dieser Abhandlung zwei folgende neue Interpretationen zu zeigen.(1)Der Satzgegenstand des Lehrsatzes von der Widerlegung lautet:"Das blosse, aber empirisch bestimmte, Bewußtsein des meines eigenen Dasein"s( B275). Nach meiner Interpretation wird er von zwei Elementen komponiert, die um das Bewußtsein des meines eigenen Daseins betreffen. Sie sind nämlich A)das bloße Bewußtsein meines eigenen Daseins, und B)das empirisch bestimmte Bewußtsein meines eigenen Daseins. Das erste bedeutet, hier auch meiner Interpretation nach, die reine Apperzeption, und das letzte die empirische Apperzeption. Warum bindet Kant diese zwei Bewußtsein von verschidenen Arten mit"abe"r ? Hier können wir finden den Prozeß von〈Entstehung des Erscheinungs-ich〉und den von〈Entstehung der Erscheinung〉. Diese zwei Prozeße haben gegeneinander gegensätzliche Richtungen, und aber sind parallel. Der erste Prozeß zeigt〈die Bedingungen der Möglichkeit der Erfahrung überhaupt〉, und der zweite〈die Bedingungen der Mög lichkeit der Gegenstände der Erfahrung〉. Hier können wir den ursprün glichen Charakter der Vergegenstän dlichung des Menschen bei Kant finden.(2)In der Widerlegung finden wir 7Male das Wort"etwas Beharrliche"s und nur einmal dasihm verwandtschaftliche Wort "die Beharrlichkeit". Was bedeuten diese zwei? Bedeuten sie vielleicht das Ähnliches? Nein! Etwas Beharrliches ist Materie oder Ding im Raum außer mir, unddagegen spielt die Beharrlichkeit im inneren Sinne gleichsam die Rolle von Repräsentant der Kategrie von Substanz.Natürlich trreffen(1)und(2)einander am Ende an dem denselben Punkt von Kants Gedanken.

著者

荻窪 光慈

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 = Journal of Saitama University. Faculty of Education (ISSN:18815146)

巻号頁・発行日

vol.59, no.1, pp.51-60, 2010

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The device that makes a cathode-ray tube (CRT) type television an oscilloscope was developed. The conventional analog broadcasting will be stopped to shift to the digital broadcasting completely on July 24, 2011. Therefore, a large number of cathode-ray tube type televisions will become unnecessary, and they would be discarded in large quantities. They would become the great pressure to the environment. To reduce such social anxiety, and to use such televisions as oscilloscopes effectively for the learning of the electric and electronic technology in a technology education course in a junior high school, the device that makes a television anoscilloscope was developed.The result of production of this device, the expected purpose of observing an electric signal on the television could be achieved under the limited condition. Further several improvements will be added to the device in the future.

著者

小野 和彦

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 = Journal of Saitama University. Faculty of Education (ISSN:18815146)

巻号頁・発行日

vol.66, no.2, pp.513-538, 2017

著者

吉田 智美 河村 美穂

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要 教育学部 (ISSN:18815146)

巻号頁・発行日

vol.58, no.2, pp.123-134, 2009

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The aim of this study is to explain the historical change of indoor shoes and their role in school life.Three points were used in researching about indoor shoes, because there have been no previous studies.(1) Explaining how the use of indoor shoes was influenced by the architecture of the school buildings from the Meiji era to the present, paying special attention to the school entrance.(2) Researching the use of indoor shoes using pictures of Saitama womens' teacher's school.(3) Taking a questionnaire for people above 50 about indoor shoes in their schooldays and explaining the role of the shoes.Japanese students have been removing their shoes at the school entrance for 130 years, from when the educational system started to the present.The custom of removing shoes at the school entrance, putting them into boxes, and changing into indoor shoes first appeared during the Taisho era. This custom originates from everyday life in Japan and was used as a teaching tool.

著者

山口 和孝 藤原 敬

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 (ISSN:18815146)

巻号頁・発行日

vol.63, no.2, pp.25-37, 2014

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The educational values have been shaken by the critiques from post-modernism. To reconstruct the values in education, the correlation between educational values and the ideas based on the theory needed to be analyzed. I used liberalism approach to this analysis.

著者

大井 敏彰 志村 洋子

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要 教育学部 (ISSN:18815146)

巻号頁・発行日

vol.58, no.1, pp.171-181, 2009

著者

斉藤 享治

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 (ISSN:18815146)

巻号頁・発行日

vol.63, no.1, pp.185-192, 2014

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There is a discussion whether megafans are alluvial fans or not. It is difficult to define whether the formation processes of megafans are the same as those of alluvial fans or not, because the surface deposits are sometimes different from the fan deposits. However, strong relationships between drainage basin areas and fan surface areas exist in alluvial fans with the same processes. Kesel (1985a, b) stated that alluvial fans in the General Valley of Costa Rica are larger than many arid fans with comparable drainage basin areas and that the position of the Kosi megafan closely coincides with the trend line of the Costa Rican fans. The statement suggests that the megafan is a member of the alluvial fans. Hence, the relationships between drainage basin areas and fan areas, including the Costa Rican fans are examined in this study. Alluvial fans over 2 km2 in area and steeper than 0.002 in mean fan slope were collected, and the drainage basin and fan areas were measured by use of 1: 50,000 topographic maps. In Costa Rica there are 18 alluvial fans, including four fans in the General Valley. The regression line between drainage basin areas and fan areas is shown by Af = 0.59 Ad0.71, where Af and Ad mean fan area and drainage basin area respectively. The regression line in Costa Rica is similar to those in Japan, Taiwan, the Philippines and New Zealand. For the comparison between alluvial fans and megafans, the Kosi megafan, Okavango fan, and five megafans in the Gran Chaco to the east of the Andes are chosen. The positions of seven megafans are beyond regression lines of five regions, including Costa Rica. Seven points are around regression lines in the San Joaquin Valley by Bull (1964) and in the General Valley by Kesel (1985a). The fan areas by Kesel are overestimated in the General Valley. Therefore, the comparison between drainage basin areas and fan areas in the San Joaquin Valley will be required in future.

著者

伊藤 誠

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要. 教育学部 (ISSN:18815146)

巻号頁・発行日

vol.63, no.1, pp.21-29, 2014

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This paper discusses the class results of String Instrument Exercises, a one-credit one-semester course that was taught in the second semester of the 2012 school year. For the past several years, we have advanced research concerning the effectiveness of the song collection New Tunes for Strings (Book 1) (by Stanley Fletcher) as an ensemble text for the introductory period. This time, we focused on the functions of the thumbs of both hands, which are important for violin performance.There was no major difference in the implementation content between this school year and previous school years in terms of instruction procedure and selection of teaching materials. In the 2012 school year, 24 students were taking the course. Among them, four had experience (one or more years of prior learning experience) with the violin. Our perennial challenge is to successfully teach courses that are both effective and efficient for teaching students without violin experience within the limited time of only 15 class meetings. However, now that, based on our experience, we have fixed the textbook songs and can approximate the abilities of students without violin experience, we have come to believe that we should set aside sufficient study time for learning the true essence of the violin as a bowed string instrument. The more complex the technique, the lower the possibility of achieving quick results. We introduced learning content to make students aware of the function of the thumbs into the curriculum, being fully aware of the fact that they would be having difficulties.The action of the right thumb affects bowing quality. Even slight functioning by the thumb will lead to variations in articulation. As for the left thumb, if one can combine the role of supporting the instrument with the role of controlling precise pitch in specific positions, the half shift becomes possible, and learning of so-called position shifts would gain momentum. Bow movement in the right hand that is rich in flexibility, along with beautiful left-handed form in wrapping the neck, can be achieved. Support from the left and right thumbs enables one to change tone color and increase range.In our investigations, we look back at the class notes and video footage from all 15 classes, as well as the analysis of the results from the course questionnaire surveys. This is a corrected and revised paper based on the contents of the research presentation on October 13 at the 44th Annual Conference of the Japan Music Education Society in Hirosaki.

著者

鈴木 道也

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要 教育学部 (ISSN:18815146)

巻号頁・発行日

vol.59, no.1, pp.117-130, 2010

著者

神月 朋子

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要 教育学部 (ISSN:18815146)

巻号頁・発行日

vol.58, no.2, pp.249-260, 2009

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This article will consider the acceptance of the French modern music by the Japanese music society in the nineteen twenties which was on the way to create the tradition of the art music. The French music had become a matter of their concern from the three points : refuse of the predominance of the German classical music ; flourishing of the French music at that time and its own characteristics ; and charm of the city of Paris, the forefront of the arts.After a brief survey of the acceptance in the fields of(1)composition,(2)concerts and records, (3)music books,( 4)periodicals and books(including Japanese translations),(5)education and(6)symbol of the anti-German music, it will be indicated that the Japanese music society recognized the characteristics of the French modern music not only as light, gorgeous, simple but also as inseparable of sensation from consciousness or conception. These are independent from the German sense of value and not its contrary. Such music is created by the French people, réalist and idéalist, as the Japanese people is.The reflection of Paris in twenties is also an important factor for Japanese musicians : at that time Paris was filled with various music from the various countries, a center of the world music. French music, especially like Debussy or Ravel, is regarded as their mixture and as source of the oriental/Japanese expression. This problem of expression, the creation of our own music, must be examined not from the acceptance of the church mode or the pentatonic scale, but from the point of the world music, or the network of music from the different culture. This may be also an importanttheme of our time.

著者

神月 朋子

出版者

埼玉大学教育学部

雑誌

埼玉大学紀要 教育学部 (ISSN:18815146)

巻号頁・発行日

vol.57, no.2, pp.157-170, 2008