著者

Jones J. B.

出版者

駒沢女子大学

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.9, pp.117-168, 2002-12-24

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This paper will explore Forster's concepts of religious meaning and the sacred in A Passage to India. It is generally acknowledged that the three sections of the novel: Mosque, Caves and Temple, stand for the three seasons in India, but they may also indicate conceptions of three systems of religious belief: the Christian/Moslem system that stresses allegorical understanding of opposites, like Good and Evil; the nihilist vision of nothingness and endless, meaningless repetition through time, (non-belief in this case) symbolized by the Marabar Caves; and the creation/destruction and all-embracing mysticism of Hinduism in the final part, Temple, which uses a religious festival to portray and dramatize the Hindu belief system. Forster presents these three belief systems as a way of exploring what it means to believe; he does not favor one system over any other; he may possibly be charting the evolution of religious belief in the individual as well as its development on wider levels of human consciousness. On a more mundane level, Forster takes up the question of the potential for mutual understanding between Indians and Anglo-Indians and appears to conclude that the two cultures were destined to remain divided in understanding each other until some future time of higher consciousness and tolerance. Forster offers gentle and ironic hope for the future in the person of Ralph, Mrs. Moore's son. In fact, Mrs. Moore herself is an embodiment of this hope in the present time of the novel: the sacral nature of creation is reaffirmed by her instinctive intuition; her sense of the sacred is Forster's affirmation that there is meaning in human existence-that the journey each of us makes through life is a journey toward God. In Whitman's words: O my brave soul! O farther sail! O daring joy, but safe! Are they not all the seas of God? Oh Thou transcendent, Nameless, the fibre and the breath, Light of the light, shedding forth universes, thou centre of them, Thou mightier center of the true, the good, the loving, Thou moral, spiritual fountain-affection's source-thou reservoir, (O pensive soul of me-O thirst unsatisfied-waitest not there? Waitest not haply for us somewhere there the Comrade perfect?) Thou pulse-thou motive of the stars, suns, systems, That, circling, move in order, safe, harmonious, Athwart the shapeless vastnesses of space, How should I think, how breathe a single breath, how speak, if, out of myself, I could not launch, to those, superior universes? -Whitman "Passage to India"

著者

森田 和夫 Kazuo MORITA

出版者

駒沢女子大学

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.11, pp.181-193, 2004-12-24

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There is the man who enjoys it more than 40 minutes while watching fish inside a big water tank of an aquarium, like a man in the song that is "The fool on the hill" written by Lennon & McCartney. The song said, "Day after day, alone on a hill, the man with the foolish grin is keeping perfectly still..." Of course the man in the aquarium is not a fool. So why is not he tired from it? The reason is because the big water tank shows his subconscious image to himself, like a mirror of magic. An aquarium resembles an abstract animation film. It resembles pleasure of playing with toys. For example it is maybe the same as playing with toy blocks. I wished to make such animation films since I was a student. There is the application named Flash. As a trial of abstraction expression in new Epoch, I examined early abstract animation films for significance of abstract animation films of the present day. Then I made a sample data of the Toy-Animation by ActionScript included in Flash. I showed the process that made the Toy-Animation in the following.

著者

石田 かおり

出版者

駒沢女子大学・駒沢女子短期大学図書館

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.21, pp.1-15, 2014-12-25

著者

須藤 明 Sutoh Akira

出版者

駒沢女子大学

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.21, pp.137-148, 2014-12-25

著者

羽鳥 修

出版者

駒沢女子大学・駒沢女子短期大学図書館

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.19, pp.1-19, 2012-12-25

著者

下川 雅弘 Masahiro SHIMOKAWA

出版者

駒沢女子大学

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.16, pp.1-17, 2009-12-24

著者

保坂 律子

出版者

駒沢女子大学

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.14, pp.173-182, 2007-12-24

著者

林 もも子

出版者

駒沢女子大学

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.2, pp.141-150, 1995-12-20

著者

太田 信子 中澤 優

出版者

駒沢女子大学・駒沢女子短期大学図書館

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.20, pp.197-208, 2013-12-25

著者

保坂 律子

出版者

駒沢女子大学

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.15, pp.153-164, 2008-12-24

著者

堀江 桂吾

出版者

駒沢女子大学・駒沢女子短期大学図書館

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.18, pp.255-267, 2011-12-24

著者

牛島 巌

出版者

駒沢女子大学

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.8, pp.25-41, 2001-12-24

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The blacksmithing of Carigara, Leyte, are famous for a knife known for its attractive sheath of ornately carved-wood made from hard wood and carabao horn. But those regular distribution heavily concentrated within the environs of Leyte where agricultural of rice and production of copra are major livelihood. This study describes the crucial social-economic relationship among blacksmiths, financiers and traders, and how blacksmithing continues to flourish as a small-scale cottage industry without sufficient operational capital fund.

著者

Kobayashi Norio

出版者

駒沢女子大学

雑誌

駒沢女子大学研究紀要 (ISSN:13408631)

巻号頁・発行日

vol.9, pp.55-78, 2002-12-24

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現在1080/24P(またはHD24P)という技術が注目を浴びている。それはデジタルハイビジョン方式により十分な解像度を得たビデオテクノロジーと、毎秒24コマ(24fs=24 frame per second)という映画だけが持つフレームレートの世界を両立させる規格である。映像の世界において24fsは、ある意味では非常に中途半端な速度である。それにも拘らずなぜ、1080/24Pがこれほど注目されるのであろうか。その回答のひとつに「フィルムライク」という表現がある。フィルムライクという言葉にはどんな意味が存在するのだろうか。こうしたさまざまな疑問に対して、一般的なビデオ技術の側からでなく、映画技術および映画表現の側から捉えなおすことにより、より具体的な理解と、映画・ビデオを含む映像技術および表現の将来を描くことが本論のテーマである。24fsはいかにして構築されたか、それは理想的な数値なのか、そして映画とテレビと軸とする現代の映像世界は24fsとどのように拘わっているかを考察することにより、映像技術の「現在」を正確に把握していきたい。それはまさしく、24P以外の選択肢による新しい映画作りの可能性への示唆にもなると考えるからである。Nowadays, many people engaged in both video and film industry are paying attention to a ground-breaking video technology called the 1080/24P (1920 1080 square pixels and 24 progressive frames per second) format. This is a happy compromise from a video technology being able to reach enough resolution with 1080/60i digital Hi-Vision (HDTV) format and a characteristic frame-rate of 24fs (frame per second) in the movie world. The 24 frame-rate is a somewhat strange ratio from the viewpoint of 30 frame-rate video world, but the 1080/24P technology has recently become a major topic. One of the reasons is represented by one magic word, "film-like". This paper will discuss the relationship between the word of "film-like" and the specific number of 24fs by examining historical facts, events and also technical back-grounds. I believe this information will show us an actual visual world and suggest the possibility of another way of making films.