著者
上利 博規
出版者
静岡大学
雑誌
人文論集 (ISSN:02872013)
巻号頁・発行日
vol.54, no.2, pp.A1-A22, 2004-01-31

J.Derrida says that he wrote four times around 'the Painting1 in La verite en peinture (The Truth in Painting). The titles of the four discourses in this book are TARERGON, '+R (par dessus le marche)', 'CARTOUCHES' (Cartridges), 'RESTITUTIONS -de la verite en pointure' (Restitutions-of the truth in size). The first thesis 'PARERGON' concerns Kant's Critique of the faculty of judgement, the second '+R (par dessus le marche)1 concerns Varerio Adam's exposition titled "Le voyage du dessin" (The voyage of sketch, 1975), the third 'CARTOUCHES'(Cartridges) concerns Gerard Titus-Carmel's exposition titled "The Pocket Size Tlingit Coffin et les 61 premiers dessins qui s"ensuivirent"(The Pocket Size Tlingit Coffin and the succeeded 61 first sketches, 1978), and the fourth 'RESTITUTIONS concerns Heidegger's The Origin of Works of Art. Through them Derrida points out that 'the logic of PARERGON, or 'the logic of frame', is stronger than 'the logic of analysis', and that 'the logic of analysis' is always contaminated by 'the logic of PARERGON'. According 'the logic of PARERGON' a certain part includes the whole. And if aesthetics should not be a part of philosophy and should find not-presentative 'trace1 or 'rest', we must not think art in the traditional philosophical ways, so not in the traditional aesthetics ways, but in another way follwing 'the logic of PARERGON'.
著者
高松 良幸
出版者
静岡大学
巻号頁・発行日
2010-03-31 (Released:2017-12-14)

平成19年度~平成21年度科学研究費補助金(基盤研究(C))研究成果報告書
著者
荒川 紘
出版者
静岡大学
雑誌
人文論集 (ISSN:02872013)
巻号頁・発行日
vol.55, no.2, pp.1-41, 2005-01-31

Hayashi Shihei, Takayama Hikokuro and Gamo Kunpei were called the Three Eccentrics (Sankijin) of the Kansei era. They did not work under the feudal lord (daimyo), but, by wondering various places, deepened the thought of the ieal political system of Japan. Many people, spesially scholars of the Mito domein (now part of Ibaraki Prefecture), were influenced profoundly by them. Consequently, the Three Eccentrics of the Kansei era became precursors of the movement to overthrow the Tokugawa shogunate. Hayashi who was a samurai of Sendai domein (now part of Miyagi Prefecture), went a several times to Edo to study, and contacted with scholars of Western learning. Later, making three trips to Nagasaki, he became convinced of the need to strengthen national defenses and immersed himself in the study of the geography and military science. Takayama who was born in Kozuke Province (now Gumma Prefecture), the son of a wealthy farmar, went to Edo to study and made several trips to the imperial capital of Kyoto to visit the residences of court nobles and royal personages and to persusade the legitemacy of the emperor's authority. Gamo who was born into a merchant family in the castle town of Utsunomiya (now in Tochigi Prefecture), visited frequently to the Mito domain (now part of Ibaraki Prefecture) and associated with members of the Mito school. These visits further inspired his interest in the true relations between sovereign and subject (taigi meiburi). He toured the country inspecting imperial tombs and found many of them in disrepair. First, this paper surveies activities of the Three Eccentrics of the Kansei era. Second, the historical role of their wonderings is discussed, concerning with the Meiji Restoratoin. Finally, their opinions for the education are considered.
著者
橋本 剛
出版者
静岡大学
雑誌
特別研究員奨励費
巻号頁・発行日
2002 (Released:2002-04-01)

コンピュータ将棋の開発では探索と評価関数が大きな2本の柱であるが,評価関数は従来各駒の玉との相対位置を点数化した「相対評価」が主流であった.だが相対評価には悪手であるにもかかわらず玉が自分の駒に接近してしまうなど重大な副作用がある.本稿ではこのような副作用のない「絶対評価」をメインにして相対評価の使用を大幅に制限する評価関数TACOSYSTEMを提案し,その実装方法を具体的な例を用いて示す.TACOSYSTEMを実装した我々の将棋プログラムTACOSは第14回世界コンピュータ将棋選手権で決勝入りを果たすという好成績を収めた.ゲーム木探索にとって水平線効果は最も厄介な問題で,特に水平線効果が出やすいゲームではその対策が不可欠である.将棋など持ち駒を使用するゲームでは明らかに損と断言できる水平線効果の指し手が存在するが,これまでその対策が論じられたことはなく現在も将棋プログラムで頻繁にみられる現象である.これを「強度の水平線効果」の指し手と呼び,ゲーム木探索においてこれを完全に除去する方法「SHEK (Strong Horizon Effect Killer)」を提案した.SHEKでは探索中の局面同士で生じる強度の水平線効果はもちろん,ルート局面以前の過去の局面とで生じる強度の水平線効果も指し手の履歴さえあれば完全に除去することが出来るが,計算コストはほとんどかからない.SHEKの概念と実装方法を紹介したのち,千日手問題等に適用する方法も提案し,将棋プログラムに実装してその効果を実証していく.
著者
荒川 紘
出版者
静岡大学
雑誌
人文論集 (ISSN:02872013)
巻号頁・発行日
vol.53, no.1, pp.1-28, 2002-07-31

A Babylonian epic, Enuma elish, whose chief purpose is to recount how the god Marduk became the head of the Babylonian pantheon, also describes how Marduk created the cosmos. Spriting the salt water goddess Tiamat into two, he used one half to form the heaven and the other to fashion the earth. This text then forcuses on how he created the heavenly bodies, the mountains and the springs, and the mankind. In this paper, we argue mainly how the cosmology of Enuma elish brought forth. First, we pay attention to the mother goddess Ninhursag and the water god Enki. As city-states appeared, Enki became the leading god of the Babylonian pantheon, who had the role of organizing the various features of the civilized world. Second, we discuss the atomospher god Enlil in Sumer who also created Heaven and Eath by devidindg "the mountain of cosmos". Its "mountain" correspods to Tiamat in Enuma elish. Additionlly, one of the interesting points is that the character of Tiamat stems from the fertility of the Tigris and the Euphrates and the chloridation of the land. Thi^ the relation between the Babylonian dynasty and Enuma elish is argued. We discuss there that the centralization of the political powers produced the systematic cosomology. It is noteworthy that Marduk and his cosmology were related to the origin and the order of the Babylonian dynasty, and the ziggurat, Mesopotamian temple tower, was a symbol of the Babylonian dynasty and its cosmography. Finally, we refer to Enuma elish's influence on the Jews and the Greeks. As to Old Testament, the creation of Heaven and Earth in Gensisl is thought to originate from the cosmology of Enuma elish. This cosmology was likely to be related to Greek science, also. The water goddess Tiamat may, for example, be connected with the water that Thales chose as his primordial stuff. And, the significance of studying Enuma elish in the present day is stated.