著者

電気協会関西支部 編

出版者

電気協会関西支部

巻号頁・発行日

vol.第5回, 1941

著者

東京鉄道局運転部 編纂

出版者

鉄道教材社

巻号頁・発行日

1942

著者

川崎寅雄著

出版者

みき書房

巻号頁・発行日

1975

著者

日合 文雄 種村 秀紀 北詰 正顕 塩田 隆比呂

出版者

一般社団法人 日本数学会

雑誌

数学 (ISSN:0039470X)

巻号頁・発行日

vol.53, no.2, pp.209-221, 2001-04-26 (Released:2008-12-25)

参考文献数

3

著者

ウメルジアンウスマン 中平勝子 鈴木俊哉 植村俊亮 三上喜貴

雑誌

研究報告デジタルドキュメント(DD)

巻号頁・発行日

vol.2013-DD-90, no.5, pp.1-8, 2013-07-19

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本論文で扱うウイグル文字は,歴史的にはアラム文字を起源とし,アラム文字から派生したソグド文字を直接の祖先として形成された表音文字である.また,ウイグル文字からは,後にモンゴル文字,満州文字などが派生した.ウイグル文字は,縦書き,横書きいずれの書記方向でも書かれてきた.横書きのウイグル文字は中央アジアの西トルキスタンと東トルキスタン地方に見られる.一方,縦書きのウイグル文字は紀元 8-9 世紀頃にトルファン地方で誕生したと考えられ,西はトルファンから東はモンゴルと甘粛に至る広範囲で使われるようになった.検討にあたって,文献作品クダトクビリグと阿毘達磨倶舎論実義疏には,作成者の署名を表すような様々な図形が登場し,これをすべて符号化しようとすれば数百になる.ここで検討が必要なのは,縦書き用の文字と横書き用の文字を,符号として区別するかどうかという点である.ウイグル文字の単語中での文字の位置によって文字図形が変化する文字の場合,異なる図形ごとに異なる符号を与える方式,図形は異なっても同じ音を意味する場合には同じ符号を与える方式 (符号-グリフ分離方式) とがある.ISO/IEC 10646 では符号-グリフ分離方式が採用されていることから,本設計でも,符号-グリフ分離方式を採用した.筆者らは,このウイグル文字の文字符号を確立することによって,ウイグルの貴重な歴史的文献情報の保存と活用の基盤形成に貢献したいという目的をもって研究を行なっている.本論文ではその研究成果であるウイグル文字古文献に基づくグリフデザインの経験について述べる.

著者

山中 克郎

出版者

一般社団法人 日本内科学会

雑誌

日本内科学会雑誌 (ISSN:00215384)

巻号頁・発行日

vol.105, no.3, pp.515-518, 2016-03-10 (Released:2017-03-10)

参考文献数

5

著者

岸本 美緒 近綴 和彦

出版者

東京大学文学部西洋史学研究室

雑誌

クリオ = Clio : a journal of European studies

巻号頁・発行日

vol.7, pp.1-26, 1993-05

著者

町田 明広

雑誌

神田外語大学日本研究所紀要 = The Bulletin of the Research Institute for Japanese Studies (ISSN:13403699)

巻号頁・発行日

no.10, pp.1-57, 2018-03-30

著者

田中 智子 坂本 須美子 岩月 聡史 茶山 健二

出版者

一般社団法人 日本調理科学会

雑誌

日本調理科学会誌 (ISSN:13411535)

巻号頁・発行日

vol.44, no.6, pp.375-380, 2011 (Released:2014-04-25)

参考文献数

29

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セレンは必須微量元素の1つで健康増進作用や疾病予防作用,とりわけガンの発生や転移を抑制することで,注目を集めている元素である。食品中のセレン含有量を水素化物発生原子吸光法を用い測定した。測定条件は,NIST SRM-1568 aの米粉を用い認証値 380±40 ppbに対し,382±17 ppbで妥当性を確認した。41種類の豆腐中セレン含有量を測定した結果,国産と中国産大豆を用いた豆腐中セレン含有量は低く,カナダ・アメリカ産大豆を用いた豆腐は高かった。きな粉を測定した結果も,大豆の原産国がアメリカのセレン含有量は高く,国産大豆のきな粉は低くかった。

著者

藤原 麻優子

出版者

西洋比較演劇研究会

雑誌

西洋比較演劇研究 (ISSN:13472720)

巻号頁・発行日

vol.17, no.1, pp.19-34, 2018 (Released:2018-04-01)

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Since the debut of Musical The Prince of Tennis in 2003, stage musicals adapted from two-dimensional media such as manga and anime have gained remarkable popularity in Japan. These “2.5 dimensional musicals” are unique in many ways: they require a comparatively low budget, inexperienced actors, a remarkably simple stage set and demonstrate loyalty to the original material. In these ways, they are distinct from the more conventional and imported musical productions performed at major Japanese commercial theaters. Among the unique characteristics of 2.5 dimensional musicals, one of the most distinct is its principle of the adaptation. To adapt the original material from page to stage, musicals can either remain faithful to or deviate from the original material. In conventional musicals, faithfulness to the original material is not their main purpose. Writers cut, change and adapt the original material to serve their purpose and create “original” shows. Conversely, in 2.5 dimensional musicals, faithfulness to the original material is of great importance. The name of the genre itself suggests the importance and uniqueness of the ideals of the adaptation; 2.5 dimensional musicals strive to remain faithful to the original manga/anime image and create an effect that allows the audience to perceive what they see as two-dimensional even though the performance itself is undeniably happening in three-dimensional theater space. The latter characteristic prompted the emergence of the name “2.5 dimensional” musicals. Although its two-dimensionality has attracted notice, the fact that the performances have also been set to music and dance has been overlooked - in some cases, both musical and non-musical shows have been classified as “2.5 dimensional musicals.” To analyze the characteristics of the 2.5 dimensional musical, this study will compare Musical The Prince of Tennis with mainstream musicals such as Beauty and the Beast (1994) More than ten productions have been made of Musical The Prince of Tennis series; this paper focuses on the opening numbers of those productions. In conventional musicals, opening numbers are expected to function as an important part of the show. Opening numbers set the context, introduce characters, direct the story, present the theme, and essentially, open the show. This study aims to reveal the characteristics of Musical The Prince of Tennis and investigate how musical numbers work in those shows through comparison of the elements that characterize opening numbers.

著者

鈴木 国男 Kunio Suzuki

雑誌

共立女子大学文芸学部紀要 = The Kyoritsu Journal of Arts and Letters

巻号頁・発行日

vol.63, pp.1-11, 2017-01

著者

増山 賢治

出版者

愛知県立芸術大学音楽学部音楽学コース

雑誌

ミクスト・ミューズ : 愛知県立芸術大学音楽学部音楽学コース紀要 = Mixed muses

巻号頁・発行日

no.11, pp.5-31, 2016-03-31

著者

吉村 誠 瀬戸口 悠

出版者

山口大学教育学部附属教育実践総合センター

雑誌

教育実践総合センター研究紀要 (ISSN:13468294)

巻号頁・発行日

vol.44, pp.21-30, 2017-09-30

著者

若宮卯之助 [述]

出版者

大亜細亜建設社

巻号頁・発行日

1938

著者

渡辺 誠

出版者

The Anthropological Society of Nippon

雑誌

人類學雜誌 (ISSN:00035505)

巻号頁・発行日

vol.74, no.1, pp.19-46, 1966-04-10 (Released:2008-02-26)

参考文献数

74

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1. In the Jomon Period, Neolithic culture of Japan, 495 fish-hooks have been recovered from 77 sites, of which 430 are one-piece hooks, and 65 two-piece hooks. However, no composite hook has ever been found.2. One-piece hooks are classified into six types: (1) non-barbed; (2) out-barbed; (3) in-barbed; (4) both-barbed; (5) stem-barbed; (6) anker-type, and of these hooks non-barbed and out-barbed are most popular. In other words, it may well be said that these six types can be classified into two groups such as non-barbed (Type 1) and barbed (Type 2-6). In general, it can be said that the former, taking the form of medium size (3-5 cm.), has been found throughout the Jomon Period and widely distributed. The latter, however, has made a remarkable progress since the later phase of the Stage 3 (i, e. Jomon Period is divided into five stages), and includes many large-sized specimens beside the medium-sized ones. At the same time, it must be remembered that the increase of the absolute quantity has become more conspicuous, though its distribution is comparatively limited.3. Two-piece hooks are classified into six types (A-F). Unfortunately, we are obliged to make a study of mainly Types A, E and F because of the lack of the specimens of the other types. Type A found during the Stage 1 comprises chiefly the medium-sized two-piece hooks which are similar to the non-barbed type of one-piece hook in their size, and Type E and F consist of large- or remarkably large-sized specimens. Hence it can be said that Types E and F are a sort of form that promoted progressively the tendency to make larger fish-hooks like the barbed type of one-piece hook.4. A study of fish bones found in the shell mounds provides us with information that fish-hooks were mainly used for the capture of such fishes as Pagrosomus unicolor (QUOY & GAIMARD), Euthynnus pelamys (LINNÉ) and Thynnus thynnus (LINNE), though the last is rare. It seems safe to suppose that the fish-hooks of medium size might correspond to the use of the capture of Pagrosomus unicolor, and those of large size to Thynnus thynnus: in particular the latter seems to have been bartered as a major materials.5. It may be explained that the phenomenon that fishery by angling, which had been developed since the later phase of the Stage 3, was more positively selecting fishing places in the Stage 5 indicates the appearance or development of a group of houses specializing in the fishery.6. 96.6 per cent of fish-hooks are made of deer antler, and the Types E and F of two-piece hook are of ideal perfection of technical development which has succeded in meeting the demand of mass production of the large-sized fish-hooks within the restriction of the material-antler. However, this restriction of the material seems to have been dissolved by the diffusion of Yayoi culture in the succeeding period.7. Such a technical development was made along the Pacific coast of northeast Honshu, where the sign of this advance had been recognized in the later phase of the Stage 3, and especially in this coast the Bay of Sendai must have played a leading part in making a remarkable progress.8. From the extensive point of view, the sites containing the fish-hooks are concentrated along the Pacific coast of central and northeast Honshu, and are very rare in the prefecture bordering the Japan Sea and in southern Honshu and Hokkaido. It is noteworthy that the areas of heaviest concentration of the sites from which the fish-hooks have been recovered corresponds to the areas where the Jomon culture most flourished.

著者

ビラン・ドゥ・アーン [著]

出版者

現代工学社

巻号頁・発行日

1977

著者

D.Bierens de Haan著

出版者

岩波書店

巻号頁・発行日

1935

著者

ビラン・ドゥ・アーン [著]

出版者

技報堂

巻号頁・発行日

1953

著者

田島 靖久 松尾 雄一 庄司 達弥 小林 哲夫

出版者

特定非営利活動法人 日本火山学会

雑誌

火山 (ISSN:04534360)

巻号頁・発行日

vol.59, no.2, pp.55-75, 2014-06-30 (Released:2017-03-20)

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The Kirishima volcanoes located in southern Kyushu are comprised of more than 20 volcanic edifices. The volcanoes occupy an elliptical area of approximately 330km2 with the WNW-ESE direction. Among the different types of volcanic edifices, the typical ones are compound maars and lava flows in Ebinokogen. We studied the volcanic history of Ebinokogen by geological examination of tephra layers and lava flows. After the Karakunidake-Kobayashi plinian eruption, seven tephra were formed in this area. We determined the ages of those tephra and two lava flows. The magmatic eruptions, produced Tamakino B tephra, occurred after Karakunidake-Kobayashi tephra eruption. The first activity in Ebinokogen from about 9.0 cal ka BP generated Fudoike lava flow, and Fudoike-Tamakino A tephra erupted from Fudoike crater. Karakunidake north-Ebino D tephra was generated from the northwest flank of Karakunidake at 4.3 cal ka BP, with debris avalanche and lahars. Phreatic Fudoike-Ebino C tephra erupted from the Fudoike crater at 1.6 cal ka BP. Ioyama-Ebino B tephra eruption started from around the 16th to 17th century with lava flow. Phreatic Ioyama east-Ebino A tephra erupted from Ioyama east crater in 1768 AD. The Ebinokogen area is one of the active regions of Kirishima volcanoes explicated by geophysical observations. Our results indicate cyclical tephra depositions mainly produced by small magmatic and strong phreatic eruptions in this area after the Karakunidake-Kobayashi pyroclastic eruption. Furthermore, the vent locations were found to migrate with each eruption.

著者

佐藤 貴英 八重樫 和之 鈴木 翔太 渡辺 裕喜 平井 明礼 加納 剛史 石黒 章夫

出版者

一般社団法人日本機械学会

雑誌

ロボティクス・メカトロニクス講演会講演概要集

巻号頁・発行日

vol.2012, pp."2A1-K03(1)"-"2A1-K03(3)", 2012-05-27

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Autonomous decentralized control is a key concept for building robots capable of exhibiting adaptive behavior under unpredictable real world constraints. However, it is still unclear how to generate non-trivial macroscopic functionalities of an entire system using only locally available information. In this study, we focus on the slithering locomotion of snake-like robot as a case study, and show an answer to this problem based on variational principle and reaction-diffution equation.