著者

中村 豪

出版者

光葉会

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.888, pp.24-31, 2014-10

著者

木村 信之 齋藤 優里

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.921, pp.19-42, 2017-07

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The authors attempted to confirm the necessity of free shared spaces at schools and researched the function of such spaces in four junior high and high schools where free shared spaces were intentionally planned and built about 30-35 years ago and are still being used today. We also distributed a questionnaire to 100 Showa Women's University students, some of whom are graduates from the schools with free shared spaces mentioned above, asking about free spaces at their high schools: how they are used and what type of free space they felt they needed during out-of-class time while at high school. Observation of the spaces at the four schools revealed the usefulness of the spaces as venues for communication among small groups of students. In addition, the researchers found that other spaces, like corridors and staircases, were also used as free shared spaces, that large free spaces were effectively used as venues for school events and for preparation for those events, and that free spaces near students' home rooms were frequently used. The results of the questionnaire also support the necessity of such spaces on the grounds that students' satisfaction with their school life is related largely to school events, friendship, and club activities, and that satisfaction with the school buildings in which these activities take place correlates to the availability of these free spaces.

著者

鈴木 円 Madoka Suzuki

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.800, pp.50-62, 2007-06

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In 1972, the Japan Private High School Federation received a request from the Education Ministry to do research on the consistency of the secondary school education system. In response to this request, the Federation founded the Research Council of a Unified Lower and Upper Secondary Education System of Private Schools in 1972, and the Council submitted a report in 1973. This report was the vanguard of this kind of research, because this report brought out essential points in this kind of education system. According to the report, private schools endeavored to maintain their own specific education philosophy and the consistency of secondary education that secondary schools under the old system of education had. Therefore, private schools can enjoy the educational benefits brought about by their school ethos. It will be necessary to learn from these characteristics of private schools in order that newly established public unified secondary education schools may develop further.

著者

人見 円吉

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:04331052)

巻号頁・発行日

no.205, 1957-04

著者

岸本 満子

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

vol.14, no.8, pp.36-45, 1952-09

著者

金子 弥生

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.930, pp.37-49, 2018-04

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Willy Wonka, a chocolate maker, places golden tickets in five candy bars. The five children who find the Golden Tickets in the bars they purchase are invited to his chocolate factory. Each of them seems to be an only child. It is commonly believed that an only child can do whatever he or she wants to do because he or she has no siblings with competing desires. Each of the five children except for Charlie Bucket grew up in rather rich families so that they could get almost anything they wanted just by asking their parents. These rich children can, for example, buy as many candy bars as they want until they get the Golden Tickets. Since their parents spoil them, they have become very selfish. Charlie Bucket, however, must repress all his desires because his family is too poor to buy luxury foods such as candy bars. Poverty seems to be an obstacle which will prevent us from doing what we want, but actually it teaches Charlie the importance of doing what he should. Because of poverty, Charlie becomes a good boy who can control his feelings, trust other people and gain the power of observation. Also, Charlie, who is given a bar of candy as his birthday present, always feels happy when he eats it. Because he cannot eat delicious things whenever he wants, he truly appreciates it when he can. The four rich children but Charlie do not feel happy when they eat the bar of candy. They just bought them to get the Golden Tickets. Willy Wonka wants to make people happy with the candy bars he produces; only with Charlie he succeeds. For these reasons, Charlie inherits the Chocolate Factory.

著者

吉田 昌志

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.927, pp.114-140, 2018-01

著者

ボルジギン・フスレ

出版者

光葉会

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.925, pp.334-362, 2017-11

著者

吉田 昌志

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:04331052)

巻号頁・発行日

no.685, pp.60-73, 1997-03

著者

河鰭実英

雑誌

学苑

巻号頁・発行日

vol.160, 1954

被引用文献数

1

著者

鈴木 円

出版者

光葉会

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.920, pp.2-16, 2017-06

著者

鈴木 円 Madoka Suzuki

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.920, pp.2-16, 2017-06

---

In December 2016, the Central Council for Education produced a report detailing the revisions to be made in the next Course of Study Guidelines. The report insists on "subjective, interactive, and deep learning" by means of "active learning." In this paper, the author examines how subjective, interactive, and deep learning in elementary school social studies should be promoted in the next Course of Study Guidelines. In Japan, "active learning" has a different meaning than that in the United States. In Japan, it implies that there will be no traditional lectures. However, elementary and secondary school classes in Japan have always been "active," and therefore, purely passive, lecture-style classes have seldom existed. Thus, the author believes that subjective, interactive, and deep learning, in elementary and secondary education, do not entail a shift to active learning per se, but to competency-based learning methods rather than content-based ones. Therefore, under the next Course of Study Guidelines, teachers will need to prepare a two-dimensional table of learning contents and competency according to the students' developmental stage. The author provides an example of such a table for elementary school social studies.

著者

昭和女子大学食物学研究室

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.357, pp.71-85, 1969-09

著者

平井 聖 Kiyosi HIRAI

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.851, pp.1-9, 2011-09

著者

永岡 都 Miyako Nagaoka

出版者

昭和女子大学

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.765, pp.72-85, 2004-06

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In recent years, there has been an increased interest in the relation between music and emotion in the field of music philosophy and psychology. However, different interpretations of emotions in musical experience have generated confusion regarding the issue of musical meaning. Therefore, we must examine various interpretations of musical emotions and the mechanism by which they construct musical meaning and guide us to an understanding of musical works. In this paper, I select two important previous studies by L. B. Meyer and P. Kivy and attempt to examine their theories of how emotions are generated in musical listening and how they effect the construction of musical meaning. L. B. Meyer proposed that there are two types of musical meaning; referential and absolute, and regarded the latter as the more essential, because absolute meaning enables the process of constructing meaning in musical listening. But Meyer could not explicate the difference between absolute meaning and the emotion that is experienced as a kind of expectation in musical listening. P. Kivy considered the musical meaning in pure instrumental music and described aspects of musical emotion not described in previous studies; 'move' and 'expressive property', but there is a question with regard to his interpretation of the concept of 'emotion'.

著者

関口 靜雄 宮本 花恵

出版者

昭和女子大学

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.852, pp.15-75, 2011-10

著者

安蔵 裕子 Yuko Anzo

出版者

光葉会

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.887, pp.62-73, 2014-09

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Abstract The Koyo Museum of Showa Women's university houses a lawyer's robe and cap tagged "Lawyer's robe and cap used around the 10th year of the Showa Period". This paper introduces images of the garments and records details pertaining to them, explains the history of the Japanese modern court dress, and explores the symbolic function of professional uniforms. In 1890 the Empire of Japan prescribed a law that required judges, public prosecutors, and lawyers to wear uniform court dress while at court. Three years later, in 1893, a Ministry of Justice Ordinance specified the lawyers' robes and caps. The materials owned by the museum are identical with this description. These garments continued to be worn until new rules were made in 1947. Preceding studies have shown that, in designing the original garments, then Minister of Justice Akiyoshi Yamada researched the garments worn in the courts of Western countries that honored the classical style, and that taking this knowledge into account, Mayori Kurokawa, who was well versed in Japanese ancient court practices and a historian of costume, designed garments for Japanese courts. The material of the robe is black with fly front, with white embroidery around the neck and in the front which signify that this was for lawyers, and in the bottom, both sides are pleated offering an example of how oriental and western design are mixed. The black cap is inspired by that of Nara period, a style that originated in the Tang Dynasty in China.

著者

柳生 四郎

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.357, pp.16-18, 1969-09

著者

柳生 四郎

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:13480103)

巻号頁・発行日

no.369, pp.31-40, 1970-09

著者

柳生 四郎

出版者

昭和女子大学近代文化研究所

雑誌

学苑 (ISSN:04331052)

巻号頁・発行日

no.368, pp.31-39, 1970-08