著者

野田 恵剛

出版者

中部大学

雑誌

国際関係学部紀要 (ISSN:09108882)

巻号頁・発行日

vol.28, pp.159-204, 2002-03-25

著者

畑中 幸子

出版者

中部大学

雑誌

国際研究 (ISSN:09100156)

巻号頁・発行日

vol.12, pp.107-109, 1996-01-30

著者

藤掛 和美

出版者

中部大学

雑誌

CUJC gazette (ISSN:09158561)

巻号頁・発行日

vol.2, pp.75-84, 1991-03-01

著者

長島 信弘

出版者

中部大学

雑誌

貿易風 : 中部大学国際関係学部論集 (ISSN:18809065)

巻号頁・発行日

vol.3, pp.290-303, 2008

著者

越川 次郎

出版者

中部大学

巻号頁・発行日

2021

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終了ページ : 119

著者

吉川 寛

出版者

中部大学

雑誌

国際研究 (ISSN:09100156)

巻号頁・発行日

vol.12, pp.116-117, 1996-01-30

著者

大場 裕一

出版者

中部大学

雑誌

基盤研究(C)

巻号頁・発行日

2016-04-01

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不明であった発光キノコの発光メカニズムの解明を目的に、発光反応産物(ルシフェリン酸化物)の化学構造の解明と、ルシフェラーゼ(発光酵素)の特定を試みた結果、そのどちらも明らかにすることができた。また、ルシフェリン酸化物がカフェ酸を介して再びルシフェリンへとリサイクルされることを発見し、発光キノコが持続的に発光する仕組みを解明することができた。

著者

堀内 勝

出版者

中部大学

雑誌

貿易風 : 中部大学国際関係学部論集 (ISSN:18809065)

巻号頁・発行日

vol.1, pp.300-327, 2006-03-31

著者

千葉 成夫

出版者

中部大学

雑誌

貿易風 : 中部大学国際関係学部論集 (ISSN:18809065)

巻号頁・発行日

vol.1, pp.68-105, 2006-03-31

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<Gutai< (Japanese anti-art) and <Mono-ha< are two most important movements in the Japanese post-war art-trends. <Mono-ha< is especially characteristic of research for a new art which is not based on the European modern art. The starting point of <Mono-ha< is Nobuo SEKINE's epoch-making work, <Sphere -Earth< (1968) which was tremendously influential upon the young artists. And the two representative artists appeared: U-Fan LEE and Kishio SUGA. U-Fan LEE, among others, presented us a new viewpoint not only through his works but also by his writings on art: we couldn't find any similar viewpoint in the modern Japanese writings on art. His famous sentence symbolizes it well: <Because evertything is already realized from the very beginning, and because the world is opened as it is from the very beginning, it is impossible to create through artistic realization an another world<. The artistic creation (in its European meaning) is impossible in this Japanese archipelago. Here will be possible, instead, our <encounter< with <the world as it is< (or, <the nature itself<): <creating something< in the European sense is not possible for us in the end. We can only look for some possibility of <creating something by way of creating nothing<, so to speak. U-Fan LEE, Korean=Japanese from 1956 on, has this thought in common with Japanese way of artistic thinking, for <the nature is everything< for us as well as for him. The human being, in this Japanese archipelago, is from the origin not independent of the <nature itself<, such as the plants are not independent of it; so, he cannot objectify the <nature itself<. But Korean people think always that the human being is the natute itself. It means <human being is nature itself< at the same time <the nature is everything<. This is a humanism, but that is totally different from the Occidental humanism. The human being is <lêtredans-le-monde< in the Western world, but he is, for Korean people, a <relation< between <lêtre humain< and <le monde<. We can find this difference, between Japan and Korea, in the works of fine art. One example is the difference of the notion of realizing <garden<. Japanese garden is not the nature itself but an artificially presented nature, or represented nature after the natutre itself, in the site of the house. But, Korean garden is composed of the house and of the nature itself: in other words, Korean house is made in the midst of the real nature, in the best natural location. The garden doesn't exist in the Korean Peninsula because the nature is the garden itself. The Korean concept of garden (nature) and U-Fan LEE's thought suggest us one possibility of the <new way of creation< by way of confronting directly with the nature itself.

著者

延岡 繁 延岡 繁

出版者

中部大学

雑誌

人文学部研究論集 (ISSN:13446037)

巻号頁・発行日

vol.6, pp.43-111, 2001-07-31

著者

武田 邦彦 中島 江梨香

出版者

中部大学

雑誌

挑戦的萌芽研究

巻号頁・発行日

2013-04-01

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海洋資源の利用、エネルギーおよび食糧資源の確保などの極めて重要な視点から高濃度CO2を活用した藻類の大量培養を進める必要があると考えられるが、本研究を通じて、早期に研究が必要なものは関連する化学工学の研究、それに付随して海洋工学、藻類研究と化学工学の融合である。工業化の研究段階は初歩的段階であるが、研究の社会的意義が大きいので公的資金獲得が可能であるので「有望である」という概念や研究申請が先行し、エネルギー収支、環境影響、科学的合理性に対する検討がまったく不十分であることが分かった。本研究を通じてCO2利用研究が単なる研究費獲得のための活動にならないことがもっとも重要であることが分かった。

著者

高木 徹

出版者

中部大学

雑誌

言語文化研究 : 中部大学女子短期大学紀要 (ISSN:09158553)

巻号頁・発行日

vol.3, pp.109-113, 1992-03-01

著者

駒村 利夫

出版者

中部大学

雑誌

言語文化研究 : 中部大学女子短期大学紀要 (ISSN:09158553)

巻号頁・発行日

vol.5, pp.57-105, 1994-03-01

著者

三島 浩路

出版者

中部大学

雑誌

現代教育学部紀要 (ISSN:18833802)

巻号頁・発行日

vol.1, pp.119-128, 2009-03

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本研究で大学生を対象に行った調査結果をもとに、高校生にみられる「いじめ」に関連する出来事を抽出し、そうした出来事と、「いじめ」被害感覚との関連を高校生を対象にした調査の結果をもとにして検討した。さらに、「いじめ」被害感覚と、友人関係の在り方や学級適応感との関連についても、高校生を対象にした調査の結果をもとにして検討した。調査の結果、高校生の「いじめ」被害感覚に関連する出来事には性差がみられることが示唆された。また、「いじめ」が学級適応感に与える影響は女子の方が大きいことや、「いじめ」を行った相手との関係で、友人関係の在り方に与える影響が異なることが示唆された。

著者

野田 恵剛

出版者

中部大学

雑誌

国際関係学部紀要 (ISSN:09108882)

巻号頁・発行日

vol.21, pp.109-135, 1998-11-30

著者

下川 潔

出版者

中部大学

雑誌

言語文化研究 : 中部大学女子短期大学紀要 (ISSN:09158553)

巻号頁・発行日

vol.6, pp.215-236, 1995-03-01

著者

玉田 敦子

出版者

中部大学

雑誌

貿易風 : 中部大学国際関係学部論集 (ISSN:18809065)

巻号頁・発行日

vol.3, pp.60-84, 2008

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After the publication of Longinus's Peri Hupsous (On the Sublime), translated by Boileau in French in 1674, the concept of "sublime" became one of the most important subjects of the European intellectual society. Boileau's translation was subsequently translated again into English and published several times in England, thereby gaining a broader readership. Since then, Longinus's treatise and Boileau's added introduction have been invoked as the authority on the matter of sublimity, which was the ideal of the rhetoric discipline. If the concept of the sublime had a great impact on the French literary society of the time, it is because Boileau defined the sublime in a short sentence. In theories and treatises on rhetoric and aesthetics in Europe, despite always consulting Boileau's translation of Longinus's On the Sublime, the notion of the sublime became separated from its previous theological and "moral" connotation. Consequently, it seems necessary to clarify the process through which the concept of the sublime became secularized by analyzing theories and treatises on rhetoric published in the Age of Enlightenment. In England, sublime appears as a pleasure of the natural landscape rather than a notion of rhetoric. Poet and literary critic John Denis first used the expression "delightful horror" to express the pleasure afforded by Mount Ainguebelette in his letter written in Turino on October 25, 1688. Fifteen years later, in his "Proposition" from The Grounds of Criticism in Poetry, he explained this expression, trying to associate it with the theory of sublime written in the work of Longinus. Terror as the greatest passion subsequently became recognized as one of the main issues in aesthetic studies in England. Although, English authors such as Addison or Bailly often referred to Longinus, they considered the pleasure of landscape to be more interesting than the pleasure of literary works. As the status of awful scenery's beauty increased, the notion of sublime became separated from its previous sacred connotation, thereby providing a further aspect of the secularization of the notion. Finally, in A Philosophical Enquiry into the Sublime and Beautiful (1747), Edmund Burke demonstrated that "terror is a passion which always produces delight when it does not press too close." In France, the idea of the "natural sublime" appeared particularly in Salon de 1767, an art critique written by Diderot, who read Burke's Enquiry precisely. Such reception of the natural sublime in France prepared the public for the Romanticism in French literature, in which strong feelings, imagination, and representations of nature are important. In eighteenth-century France, the act of watching pains or distress of others required a pretext. According to Michel Foucault, during this age, exemplary punishment with show trials was considered the most useful for society. In this context, the delight received from the pains of others was explained by the deterrent effect of these punishments, which were perceived as "beauty" for the deterrent power itself. To prove the concept that a horrible spectacle is beautiful, authors of the time often referred to Montaigne and others from the sixteenth century. In the Age of Baroque, horrible spectacles were used to achieve religious and political purposes ; the stories of such spectacles were circulated to intensify their impact. In the Age of Enlightenment, La Motte, Batteux, and Marmontel attempted to define "sublime" as the effect of surprise expressed in "elegant" expression. According to the rhetoric theory of the time, "elegance" is defined as a grammatical license opposite to the grammatical "exactitude." Elegance brings changes and surprises in style with a license that creates rifts in the discourse and continues to have sensory pleasures. In this way, the sublime as the succession of surprises and intermittent changes-which Longinus and Boileau defined as one of the elements of the sublime-is associated with "elegance," a value that represents a "libertine" aesthetic.

著者

玉田 敦子 安藤 隆穂 石井 洋二郎 深貝 保則 坂本 貴志 隠岐 さや香 畠山 達 三枝 大修 井関 麻帆 飯田 賢穂

出版者

中部大学

雑誌

基盤研究(B)

巻号頁・発行日

2019-04-01

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18世紀ヨーロッパにおいては各国の覇権争いが苛烈になる中で古典古代の表象が積極的に利用された。 本研究では研究課題の核心をなす学術的「問い」として(I)「近代とは何か?」、(II)「近代国家の形成、特にその文化的アイデンティティの形成において、古典古代の表象は如何なる役割を果たしたのか?」という2点を設定し、代表者、分担者のこれまでの文献研究を発展させる形で展開していく。

著者

船尾 章子

出版者

中部大学

雑誌

国際関係学部紀要 (ISSN:09108882)

巻号頁・発行日

vol.14, pp.21-38, 1995-03-30

著者

高木 徹

出版者

中部大学

雑誌

言語文化研究 : 中部大学女子短期大学紀要 (ISSN:09158553)

巻号頁・発行日

vol.5, pp.137-145, 1994-03-01