著者
伊里 友一朗 松下 和樹 塩田 謙人 三宅 淳巳 Izato Yuichiro Matsushita Kazuki Shiota Kento Miyake Atsumi
出版者
宇宙航空研究開発機構(JAXA)
雑誌
宇宙航空研究開発機構研究開発報告: 高エネルギー物質研究会: 令和元年度研究成果報告書 = JAXA Research and Development Report: Technical Report of The Research Activity for High Energy Materials (2019) (ISSN:24332216)
巻号頁・発行日
vol.JAXA-RR-19-003, pp.27-33, 2020-02-20

高毒性を有するヒドラジン系化合物を代替する革新的なグリーンプロペラントとして,アンモニウムジニトラミド(ADN)を主剤とするイオン液体推進剤(EILPs)の研究を行ってきた.その研究過程において,当該EILPs実用化に向けた課題についても明確になり,喫緊に着火方法の確立が必要である.EILPsはイオン液体の高い熱安定性が,推進剤としての着火性をトレードオフとして失わせているのである.そこで光や電気化学反応による着火システムに我々は着目した.それらは熱的な化学反応とは反応ルートが全く異なるため,熱的に難着火性のEILPsに関しても着火を誘起することが期待できる.その可能性を検討するため,量子化学計算および詳細反応モデルを用いて,ADNの電解反応経路とADN/硝酸ヒドラジン(HN)混合溶液の熱分解反応を調査した.その結果,ADNは電気的に還元されることによって速やかに,かつ不可逆的に分解することが示唆され,電解過程でNO2等のラジカルを生成する.またADN/HN溶液は,NO2をラジカル担体とする連鎖分岐反応によって瞬間的に熱分解することがわかった.これらはADN系イオン液体に関する電解着火方式の実現性を支持する結果である.

1 0 0 0 OA 水戸藩の香統

著者
堀口 悟 鈴木 健夫 村田 真知子 Satoru Horiguchi Takeo Suzuki Machiko Murata
出版者
茨城キリスト教大学
雑誌
茨城キリスト教大学紀要 I.人文科学 = Journal of Ibaraki Christian University I. Humanities (ISSN:13426362)
巻号頁・発行日
vol.53, pp.197-217, 2019

When the four volumes of the Book of the Way of Incense (Kōdōsho) in the collection of the Mito City Museum were shown to the public for the first time in 1992, Akiyama Takashi contributed the introductory essay for the occasion. In this essay, Akiyama expressed doubts on the theory endorsed so far by Nishiyama Matsunosuke in his Iemoto seido no kenkyū(Research on the iemoto system)published in 1982 by Yoshikawa Kōbunkan, although he fell short of producing evidence against it. Nishiyama had stated that inside the domain of Mito, approximately the same territory as today’s Ibaraki prefecture, in regard to new disciples for the Shino School of incense “not even one was to be found for the entire period [of the Mito feudal domain]. It is thus conceivable that the way of incense was not accepted by the milieu in the Mito domain that developed Mitogaku”.In our research, drafted by three authors, we thoroughly examined the four volumes of the Book of the Way of Incense, consisting of Mito-shi hakuzō Kōnoki-jo (Introduction to Ko-awase, an incense matching game- Mito City Museum), Mito-shi hakuzō Kotokumikō (The earlier ten kinds of kumikō - Mito City Museum), Mito-shi hakuzō Hachikumikō (The eight kinds of kumikō- Mito City Museum) and Kōdō meikan (Compendium of the Way of Incense). While taking into account the previous studies by Midorikawa Fumiko and others, we also considered the historical documents of the Mito domain, with the purpose of investigate the relations between the domain of Mito and the way of incense in the early modern era (1603-1867).On one hand, we proceeded to reprint and revise the four original volumes of the Mito City Museum, adding explanatory notes, a translation into modern Japanese and related essays. The book we are currently writing with these contents will be entitled Kinseishoki no Kō-bunka (The culture of the incense in the early modern period) and its publication is planned for March 2020. It intends to clarify the culture of the incense in Kyoto (cultural capital) and in Mito (province) in the early modern period, from the year 1603 to the year 1700.On the other hand, in the present paper titled The incense tradition in the Mito domain we have broadened the outlook to the whole early modern period and considered the above-mentioned theory by Nishiyama.Consequently, it came to light that the first daimyō (feudal lord) of the Mito domain Tokugawa Yorifusa was enthusiastic about the way of incense, wrote a book himself on the subject and presented it to the Emperor Go-Mizunoo. Furthermore, Tokugawa Mitsukuni, the second daimyō of the Mito domain, presented the Emperor Go-sai with the book Fusō-shūyōshū, while both the fourth daimyō Munetaka and the eight daimyō Narinobu showed interest in the art of incense. The analysis of the documents also revealed that two vassals of Yorifusa, Okajima Matayuki and Iio Biku were practicing and researching the way of incense, proving that the tradition of incense continued until the latter part of the Edo period.However, regarding the way of incense in the Mito domain there are still aspects needing further investigation, which prevent us to reach a full clarification of the matter. Therefore, we are hereby releasing our findings in the form of research notes.
著者
近畿大学中央図書館
雑誌
図書館だより = Tosyokan Dayori
巻号頁・発行日
no.184, pp.1-4, 0000
著者
近畿大学中央図書館
雑誌
図書館だより = Tosyokan Dayori
巻号頁・発行日
no.号外, pp.1-2, 2021-04-02
著者
中川 栄照
雑誌
研究紀要
巻号頁・発行日
vol.10, pp.A1-A18, 1985
著者
井手 広康
雑誌
研究報告コンピュータと教育(CE) (ISSN:21888930)
巻号頁・発行日
vol.2021-CE-158, no.9, pp.1-8, 2021-02-06

2020 年 11 月に大学入試センターから平成 30 年告示高等学校学習指導要領に対応した大学入学共通テスト「情報」試作問題(検討用イメージ)の提供があり,その翌月に情報処理学会がこれをホームページ上に公開した.本研究では,試作問題のうち第4問「交通渋滞シミュレーション」をシミュレーションの授業で取り上げるとともに,授業の前後で二度生徒に試作問題(第 4 問)を解答させた.生徒の解答を分析した結果,「複数のグラフを比較することができ,そこから情報を正確かつ瞬時に読み取る分析力」および「文章を正確に読み取り,何が問われているのかを瞬時に把握する読解力」が今後の授業において育成すべき資質・能力であることが明らかとなった.
著者
西山 薫
出版者
北翔大学
雑誌
人間福祉研究 = Human welfare studies (ISSN:13440039)
巻号頁・発行日
vol.6, pp.137-148, 2003-03-20

In this paper, the relationships among proactive personality, two kinds of self-efficacy, and employment anxiety were explored. Participants were 454 Japanese college women. It was found that proactive personality, general self-efficacy, and career decision-making self-efficacy were negatively correlated with the three factors of employment anxiety, i. e. employment seeking activity, vocational aptitude, and workplace. The results of multiple regression analyses between these three dependent variables and the three factors of employment anxiety indicated three different regression patterns. Proactive personality and career decision-making self-efficacy related to vocational aptitude anxiety, and general self-efficacy, while at lower levels, related to all three. The results relations to proactive personality were discussed based on a 'demands-control model'. In addition, employment anxiety was discussed in relation to specific depelopmental tasks in adolescence.
著者
于 卉 大和田 泰伯 小口 正人
雑誌
第81回全国大会講演論文集
巻号頁・発行日
vol.2019, no.1, pp.241-242, 2019-02-28

インターネットとスマートフォンの急速的な普及に伴い,その関連技術とアプリケーションが現代人の生活の一部分になった.地震等の自然災害が起きた際に,被災地のインターネットインフラが断片的に壊れることにより,ネットワークが通信不能になり,インターネットの高依存のアプリケーションが使えなくなる可能性がある.しかし,災害の関連情報や避難情報や生活支援情報等の情報を被災者に伝達することが必要である.本研究はインターネット非接続の条件下,断片化のネットワークを利用し,XMPP を用いて災害時の分散臨時SNSシステムの構築を目標として,管理者の管理手段を検討する.
著者
佐藤 亘 打田 研二 山名 早人
雑誌
研究報告 情報基礎とアクセス技術(IFAT)
巻号頁・発行日
vol.2011-IFAT-103, no.8, pp.1-8, 2011-07-26

近年,自然言語処理をはじめとする数多くの研究が,検索エンジンから得られる検索結果数,すなわちヒット数を利用している.しかしながら,検索エンジンが返すヒット数は検索するタイミングによって不自然に変化し,研究のベースとして用いるには無視できないほどの大きな誤差が生じることがある.そのため,ヒット数の信頼性を評価,向上させる手法を考えることは,大きな課題である考えられる.我々はこの課題に対して,信頼できるヒット数を得ることができる条件の特定を試みた研究や,実際に得られたヒット数の信頼性を定量的に評価できる手法の提案を行ってきた.本論文では,後者の研究に追加して,信頼性評価指標の妥当性検証実験を行ったので結果を報告する.
著者
富澤ケイ 愛理子
雑誌
美術研究 = The bijutsu kenkiu : the journal of art studies
巻号頁・発行日
no.419, pp.27-72, 2016-06-01

This article focuses on an album of Meiji-era Nihonga held in the Metropolitan Museum of Art, New York. Although now separated into individual painting leaves, the album originally consisted of 96 Nihonga by seven known and little-known artists. This unique album assemblage was one of the thousands of Japanese artworks purchased by the American industrialist Charles Stewart Smith (1832-1909) from the Irish journalist and collector Francis Brinkley (1841-1912) when Smith was in Japan from 1892-1893. The album contained thirty-seven leaves by Kawanabe Kyôsai (1831-1889), twenty-one by Watanabe Seitei (1851- 1918), twelve by Kawabata Gyokushô (1842-1913), six by Hashimoto Gahô (1835-1908), sixteen by Seki Shûkô (1858-1915), three by Okada Baison (1864 -1913), and one by Ôide Tôkô (1841-1905). In terms of the production date of each image, inscriptions on the works indicate that the earliest was painted in 1887, and the latest work in 1892. Among the eighteen works by Kawanabe Kyôsai, there are images that have the same compositions as those found in the Preparatory Drawings of the album for the Englishmen (ca. 1887, Kawanabe Kyôsai Memorial Museum, Tokyo). From the notation “hyakumai gachô no uchi” on those preparatory drawings (found in the 100-leaf picture album), the array of production dates and the fact that the number of works by Kyôsai exceeds those of others in the album – occupying more than a third of the whole album – we can conclude that Brinkley had divided responsibility for the album leaf production among artists other than Kyôsai, and had prepared and sold this album to the Smiths prior to their return to America. Of the artists, today’s high regard for Hashimoto Gahô within the history of Japanese modern art, which began during his lifetime, remains intact, while Watanabe Seitei is relatively unknown by the general public. Today, there is an ongoing re-evaluation of Kawabata Gyokushô’s activities at the time and his works. In general, the three remaining artists, Seki Shûkô, Okada Baison, and Ôide Tôkô, are also little known today. But, at the time, these three artists had received honors at the various exhibitions that marked a painter’s official debut in the art circles of their day, while also displaying works at various world fairs, and participating in exhibitions and mutual critiquing sessions organized by Okakura Tenshin. Thus each artists was recognized, to some degree, at the time. Their lack of further achievements meant that they were gradually forgotten during the intervening decades. In terms of the background that led to the production of this album, we can consider the intermingling of the art exhibitions of the day, art education systems, the export of fine and decorative arts from Japan, such as ceramics, the art market in North America and its reception of Nihonga, and the presence of the painters, dealers and educators who were responsible for these various elements. Through the confirmation of the production process of this album and the related works and artistic activities by the involved modern Nihonga painters, and a reevaluation of all of these factors, we can shed light on these painters who have slipped between the cracks in the formation of the history of modern Japanese art, and reveal one aspect of how modern Japanese art collections were formed and received in North America at the time.