著者

小松 茂久

出版者

早稲田大学教育総合研究所

雑誌

早稲田教育評論 (ISSN:09145680)

巻号頁・発行日

vol.26, no.1, pp.1-20, 2012-03-31

著者

有路 憲一 関口 あさか

出版者

信州大学総合人間科学系

雑誌

信州大学総合人間科学研究

巻号頁・発行日

vol.11, pp.195-217, 2017-03-17

著者

北村 拓也

雑誌

滋賀大学教育学部附属中学校研究紀要 (ISSN:18809456)

巻号頁・発行日

no.58, pp.116-123, 2016-03

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本校が取り組む「BIWAKO TIME」は,32年に及ぶ長い歴史を持ち,全校体制で取り組んでいる総合学習である。時代とともに少しずつ修正と改善を重ねながら現在に至っており,「郷土である滋賀」を学習フィールドとし,「学び方を学ぶ」調査研究型の学習を継続している。生徒たちが卒業後の人生においても活用できる「生きる力」を養う学習の場として,本校独自の研究課程である「情報の時間」とともに,必修教科等の学習で得た知識や体験を生かし,より活用できる「学び」へと再編することや,学習指導要領に則した授業時数に対応させつつ展開してきた。昨年度より本校の研究と絡めて,「論理的」をキーワードにBTを進めている。特に本年度は,「計画を立てる」,「調査研究をする」,「思考する」,「整理する」,「発表する」といった各場面の中で,「論理的」を意識し学習に取り組めるように活動内容を組み立てた。時に,思考ツールの活用に力を入れ,一昨年よりより使い始めた「ピラミッド・ストラクチャー」の活用については,昨年度より書いてある情報量が増えており,昨年度のBTの経験や情報の時間の学習が活かされいると感じた。また,本年度は三角ロジックも本格的に活用した。その中で,「主張」と「論拠」と「事実」をつなげということに関して,課題が見られた。

著者

芳山 拓

巻号頁・発行日

2018-03-22

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北海道大学. 博士(水産科学)

著者

小倉 斉

出版者

愛知淑徳短期大学研究紀要編集委員

雑誌

研究紀要 (愛知淑徳短期大学) (ISSN:03885674)

巻号頁・発行日

no.27, pp.23-27, 1988-03-10

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Pages also numbered 88-84

著者

石川 寛 ISHIKAWA Hiroshi

出版者

名古屋大学附属図書館研究開発室

雑誌

名古屋大学附属図書館研究年報 (ISSN:1348687X)

巻号頁・発行日

vol.17, pp.33-45, 2020-03-31

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The Takagi Family Documents held at Nagoya University Library is a collection of old documents passed down through the Nishi-Takagi family, former retainers of the shogun. Currently, Nagoya University Library Research takes over the project of organizing the remaining materials. In parallel with this, we are also investigating related documents that exist outside the university. Therefore, this paper introduces documents that were newly confirmed after FY2014, again reports the current status of the three Takagi families document, and at the same time present digital library concept for the integration and sharing of the three Takagi families document.

著者

斎藤 夏来 SAITO Natsuki

出版者

名古屋大学附属図書館研究開発室

雑誌

名古屋大学附属図書館研究年報 (ISSN:1348687X)

巻号頁・発行日

vol.17, pp.56-46, 2020-03-31

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This paper discusses social ramifications of a cache of old documents dating to 1491 that was sent by a man named Saemon no Taifu that was recently discovered in a storehouse of Daisen-ji temple in the Chita district of Aichi Prefecture. The documents-including a kakocho death register and a genealogy for Saemon no Taifu-are currently housed with papers of the Noma Family and Physicians of the Owari Clan papers in the Nagoya University Manuscript Collection. Among other things, the records reveal (1) that the current Daisen-ji temple in Chita district was erected on the site of a smaller hermitage from the pre-Tokugawa era called Nyoian, (2) that Saemon no Taifu and his immediate successors were jizamurai-that is, part-time samurai warriors who also cultivated the land-thus exemplifying blurrier social distinctions before Toyotomi Hideyoshi implemented his heino bunri policy separating peasants from warriors, and (3) that succession to Saemon no Taifu's position as head priest of the Nyoi-an hermitage could be achieved in a variety of ways: blood-line inheritance, adoption of an adult male successor, or through a master-disciple relationship. Older pre-Tokugawa temples like Nyoi-an were pulled down and replaced by early-modern temples like Daisen-ji as the earlier era of ambiguous social distinctions gave way to Hideyoshi's social policies at the end of the 16th century creating strict separation between warriors and peasants (heino bunri) and between the clergy and laity (sozoku bunri).

著者

長屋 隆幸 NAGAYA Takayuki

出版者

名古屋大学附属図書館研究開発室

雑誌

名古屋大学附属図書館研究年報 (ISSN:1348687X)

巻号頁・発行日

vol.17, pp.68-57, 2020-03-31

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In the Edo period, there was a house in the Kaga clan, dating from Takagi Sadahide. Takagi Sadahide is brother of three takagi families’ first generation. Takagi Sadahide families’ historical book are currently kept in Archives of Modern History Records in Tamagawa Library. This paper introduces this historical books. In addition, the Nishi Takagi family has compiled a number of historical books. Therefore, In this article followed the transition of the description of Takagi Sadahide in the Nishi Takagi families’ historical book. Through this work, I clarified a part of the Nishi Takagi family's compilation of historical books.

著者

中川 拓哉 Nakagawa Takuya

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.97-111, 2020-03-31

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The term “Kokusai Eiga” (International Film) emerged in some film magazines around 1936. It first referred to films produced to introduce “correct” images of Japan and the Japanese to Western countries, instead of images that were often exaggerated to portray an exotic and strange land. They also sought critical acclaim. The best-known international film was Atarashiki Tsuchi (New Earth), a Japanese-German co-production in 1937. Nevertheless, after opening to the public, it was criticized intensely for two reasons. First, “Japan” in the film was just as exoticized as it had been in the usual newsreels, which was exactly what Kokusai Eiga had sought to overcome. Second, Atarashiki Tsuchi was criticized for the ways in which it alluded to the 1936 Anti-Comintern Pact. The German director Arnold Funk depicted the similarity of the Japanese national character to the Nazi ideology to stress the friendly relationship between both countries. The failure of Atarashiki Tsuchi disappointed the critics, and they began to wonder if only the Japanese could understand Japan. After the start of the Second Sino-Japanese War in July 1937, the Japan government attempted to use film for propaganda purpose and asked filmmakers to express “Kokumin Seishin” (the national mind) in film. The 1938 film, Kokumin no Chikai (Holy Purpose), was a Kokusai Eiga, and may be considered a successor of Atarashiki Tsuchi. Kokumin no Chikai was an answer to the criticism of Atarashiki Tsuchi but also to the requests of the government concerning the expression of “Kokumin Seishin.” The people in the film devote themselves to their nation, suppressing their personal feelings and circumstances. This film depicted images of a loyal “nation” but at the same time missed the original purpose of Kokusai Eiga, which was to introduce characteristic images of the “Japanese” to other countries.

著者

林 順 HAYASHI Jun

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.113-128, 2020-03-31

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Tunnel tombs were ancient graves excavated into the side of the hill or cliff in the late of the tumulus period (end of the 5th AD. to the end of the 6th AD.) in Japan. They were characterized by their density, and in many cases, they made some groups in certain areas. In addition, by focusing on the group structure and the rank of the burial goods offered in each grave, it will be able to make clear various social relationships of each man who buried in each grave.This contribution aims to clarify the mortuary principle of the tunnel tombs in Shizuoka area. This means how each man was buried while taking account of the relationships in each group who built these tombs, and between groups who built other graves, that is, mounded tombs. To achieve this object, I analyzed following 2 subjects in this paper: 1) the hierarchy system inside of each groups of the tunnel tombs and 2) the relationships between the tunnel tombs and general mounded tombs which were made nearby them, while focusing on the group structure. As a result of these analyses, I could find out the excellence of Totomi area, especially Saka river basin, from the viewpoint of the clearness of the hierarchy inside of the tunnel tombs, and the superiority of them when compared to the mounded tombs. Finally, I assumed that the background of these phenomena links the way of governing system of burial ground (contains both graves) by central policy.

著者

川村 祐斗 Kawamura Masato

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.129-144, 2020-03-31

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This paper investigated the process of changing the conjunction Saraba which expressed resultative and hypothetical situation into a word of farewell used when parting. For the investigation we used two points of view, "demonstrative feature being obscure" and "having function of scene development". These are led by characteristic that the word of farewell Saraba has. By the way, Saraba had a stage of the conjunction which didn’t express resultative and hypothetical situation before it changed to the word of farewell. Saraba at the stage had "demonstrative feature which was obscure" and "the function of scene development". At first, we classified Saraba in "demonstrative feature being clear" or "demonstrative feature being obscure", and investigated the history. As a result of the investigation, there were few examples of "demonstrative feature being obscure" in the Early Middle Period, they gradually increased after the first half of the Middle Period, and a large number of the examples were seen at the end of the Middle Period. Then, we investigated how examples which will, demand expression followed Saraba changed historically and how examples which Saraba followed interjections such as Iza, Ide changed historically. As a result of the investigation, proportion of the examples which will, demand expression followed Saraba more increased in the first half of the Middle Period, and proportion of the examples which Saraba followed interjections such as Iza, Ide increased in the latter half in the Middle Period. From the above, we think "the function of scene development" expanded from the first half of the Middle Period to the latter half of the Middle Period. Furthermore, Saraba often appeared at the head of utterance. It was also on the syntactic condition that "the function of scene development" expanded. "The function of scene development" wasn’t newly acquired after examples of "demonstrative feature being obscure" began to appear but originally provided Saraba with, and it came to the front in conjunction with "demonstrative feature obscuring". Saraba lexicalized to the 17th century. Considering that, it is probable that "demonstrative feature obscuring" and "the function expansion of scene development" became most prominent at the end of the Middle Period, because of temporal consistency.

著者

吉原 万里矢 Yoshihara Mariya

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.159-170, 2020-03-31

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The image of glass architecture frequently appears in Kitazono Katue’s works of his early career. There are two characteristics of glass architecture in his works. One is that the inherently hard inorganic glass architecture floats like a soft soap bubble covered with a gelatin film. The second is that a human body that is originally organic and soft is transformed into a hard, inorganic robot by being given an image of glass. These expressions are thought to have been produced through the glass architecture of Bauhaus, which Kitazono had been strongly interested in, and the acceptance of new ballet costumes by Oscar Schlemmer and Picasso. In other words, glass plays an important role in the dematerialization or organicization of architecture, and is used as a special metaphor to obscure the boundary of inorganic/organic matter. And the unique feature of Kitazono, such as “silver solid doll” or a robot made of glass, is a metaphor that transcends inorganic matter and organic matter, glass, to the idea of Picasso. According to previous research, a new relationship was established between the huge inorganic object of architecture and the observing subject looking at it in the early Sho wa poet. The expression of the human body that transforms into glass architecture in the poetry of Kitazono is also a variation of the intention to try to cross the boundary between the observation subject and the building in such a contemporary poetry. And the image of the human body changing to glass architecture in the poetry of Kitazono can be seen as an expression of the sensibility common to the contemporary poets who aimed at crossing the boundary between subject and buildings. In other words, Glass in the Kitazono’s works was not only a function to create the world of surrealism as described in previous research, but it was a material necessary for human beings as organisms to cross borders into architecture.

著者

隋 瑜 SUI Yu

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.171-186, 2020-03-31

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This paper examines the relationship between the formation of internationally renowned resorts and cross-cultural exchange at Nozawa Onsen. In order to become a successful, internationally renowned ski resort, what efforts did Nozawa Onsen consciously make for "internationalization," and how did they attempt to build relationships with the "overseas?" In other words, what specific efforts were made to interact with different cultures? I identify the discourses which illustrate the relationship between the formation of the international resort and cross-cultural exchange using Nozawa's public relations magazine from 1971 to 2019 to elicit two categories-ski exchange and cultural exchange-for analysis.

著者

陳 敏 Chen Min

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.187-199, 2020-03-31

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Arishima Takeo and China has not been fully discussed except the reception of Arishima Takeo in China. What China means to Arishima has not yet been considered as an issue. However, one of his new year’s plans for 1922 published in Shinchō was to make a trip to Manchuria and Korea. Although the trip had not been realized due to the influence of the abandonment of all his wealth, it was quite interesting why he planned to go to China at the turning point of his life. The purpose of this paper is to figure out Arishima Takeo’s view on China and whether it is the same with contemporary Japanese writers’ “Shina Shumi” (taste for China) or Asianism. To do so, this paper will focus on why Arishima planned a trip to China and what China meant to him. By analyzing his diaries and other texts, this paper points out that the perception of anarchism in Chinese society then and in Chinese tradition via Hasegawa Nyozekan resulted in his intention to visit China, which was different from “Shina Shumi”. He did see the difference in China while most of contemporary Japanese writers saw China based on their own imagination. Furthermore, by dis-cussing the reality he faced in Japan and what he thought about Japan, this paper also proves that the unrealized trip to China was an escape from political pressures in Japan at that time. Arishima Takeo’s view on China or Korea could also be a clue to understand what he thought in his later years.

著者

孫 旻喬 Sun Minqiao

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.201-216, 2020-03-31

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Robots play an important role in Osamu Tezuka’s story manga. There are several robot characters recognized as female. Their body image was considered to be influenced by image in science fiction works during 1920-1930. However, there are also many differences between works during 1920-30 and Tezuka’s story manga. Karel Čapek created the word “robot”, and defined them as artificial workers who produce for humans or fight for humans. But when robots show femininity, the ability of pregnancy is also required. Female robot’s body let writers imagine about human reproduction, Tezuka’s story manga also includes imaginations about reproduction, but Tezuka showed a different view on it. In this paper, we will see “reproduction” as a keyword to analysis the similarity and differences of female robot’s image between pre-Tezuka science fictions and Tezuka’s works. We will also clarify the relationship between Tezuka’s female robots and the historical & cultural context of postwar Japan.

著者

ムカルジー ヒヤ Mukherjee Hiya

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.217-225, 2020-03-31

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Childbirth rituals are considered to be one of the important rituals of Rites of passage. In any nation or society, rituals and ceremonies associated with Childbirth have undergone many changes with the passage of time. In Japanese society, traditional Childbirth rituals and its customs have embraced many changes not only in the countryside even in the urban areas with the massive advancement of medical treatment or the transition of an Era. The purpose of this paper is to examine the present practice of Anzankigan ritual (a prayer for safe delivery), which is usually performed during the fifth month of pregnancy for ensuring safe and healthy delivery of a newborn. Particularly, this paper will try to find out the practice of Anzankiganritual in an urban area, by the case study conducted at Shinto Shrines, like Shiogama Shrine and Inu Shrine situated in an urban area of Nagoya, which are believed to be the most sacred places to offer prayer to the Kami, in order to be blessed with safe childbirth. While investigating the present practice of Anzankigan, this paper also aims to emphasis on several important aspects, such as historical origin of these two Shrines, how do these Shrines are closely associated with the concept of safe delivery, why these Shrines are so popular among devotees for offering prayer to ensuring safe childbirth and what is the present practice of Anzankiganin an urban area, where hospital delivery is the most popular choice of pregnant women.Through the case study conducted at Shiogama and Inu Shrines in Nagoya city, this paper will not only investigate the present practice of Anzankigan ritual, it will also make a comparative analysis on similarities and differences in the other practices and customs, such as receiving an auspicious Hara-Obi belt for tying the belly and receiving an amulet or lucky charm for ensuring the safe and healthy delivery. Finally, this paper will help to understand in what way the traditional practice of Anzankigan and other essential customs performed during the fifth month of pregnancy, are still continuing in the present day urban city of Nagoya.

著者

杉山 雅梨華 Sugiyama Marika

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.259-272, 2020-03-31

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Takeo Kuwabara "Secondary Art: Modern Haiku"(1946) was known as a genre criticism toward the post-war haiku and tanka. Having criticized the feudalistic mentality for its modernization prevention and allowed militarism to be catered for, Kuwabara’s institution of the problem prompted reflection of not only the world of haiku and tanka, but also the Japanese culture as a whole. However, the immediate illustrated prospect after the war of Japanese literature by western literature researchers, represented by Kuwabara's “Secondary Art”, had never been assessed up to now, in favor of the easiness known as straightforward progression in the western modern literature path. Kuwabara introduced a questionnaire that had been reviewed in a mixture state of ten haiku by eminent people and five haikuby nameless people with the author names erased. This was a method borrowed from "Practical Criticism" (1929) written by I. A. Richards, whopreceded New Criticism in Britain and the United States. Thereafter, in "Introduction to Literature" (1950), Kuwabara investigated the three main points of Richards’s "Principles of Literary Criticism" (1924), 1. the consideration of aesthetic and daily experience as a continuous thing, 2. the analytical perception of the transfer process for readers to receive the work, and 3. the distinction between the usage of poetic language that would arouse emotions and prosaic language based on the post-war society context. Against the past orientation known as privileged authors and passive readers, Kuwabara had thought of the "communication" as an emphasizing concept for universality, and he dealt with the significant problem of general readers that rose along with commercialism. Hisresearch is not theory for creation nor reception theory but theory that considered literature socially and saw readers empirically.

著者

郭 立欣 GUO LIXIN

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.387-402, 2020-03-31

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Ryunosuke Akutagawa, as an overseas journalist of the Osaka Mainichi Shimbun, traveled to China from late March to early July 1921, and wrote down tihe experience in "Travels in China". "China" was a consistent theme of Akutagawa's literature, and his "Sinophilia" laid a solid foundation of his creation in the early period. However, Contrary to the characteristics of the early period, Akutagawa's works after his tour in China showed realism beyond the realm of mere interests. The experience in China brought about an obvious change in the style of his works mentioned above, and after his traveling around the Jiangnan region, besides his consistent word of criticism about China, Akutagawa began to express his disgust of the Jiangnan city as denied by himself that he was a "sinophile". On the other hand, Akutagawa highly valued the city, Soochow, which was recorded in the chapter: "Travels in Jiangnan". Based on the background, in order to furtherly understand the change in Akutagawa's views about China, considering the novelty and greatness of China in the 10th year of t he Republic in the eyes of one Japanese journalist lived in Taisho 10, and as a novelist, Akutagawa's view about the real China, which was the origin of Chinese poetry and Nanga, and the stage of many novels, played a key role in this study, meanwhile, the importance of Soochow should also be considered in priority. It should be noted that the previous research so far has not paid much attention to his travels in Soochow. This paper based on "Travels in China", which Ryunosuke Akutagawa wrote when he visited China, a country at a historical turning point, and focused on the peculiarities of Soochow emerging from his Jiangnan experience to have an insight into the position of Soochow in his views. The experiences during his travel, the description about Soochow and the impressions he made, all that recorded in "Travels in China" were not only a part of his tour in China, but also one aspect about the impression of China that writer himself and Japanese society had. Therefore, the main purpose of this paper was to clarify part of the changes in Akutagawa's impressions of China by deciphering the representation of Soochow, which was regarded as the special one in his Jiangnan experience.

著者

髙畑 早希 TAKABATAKE Saki

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.419-434, 2020-03-31

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This paper discusses one of Miyazawa Kenji's folkloric fiction, “Futari no Yakunin,” which, despite the author’s description as folkloric, was not evaluated as a folkloric work in past studies. This paper indicates a bias in previous views of folklore, serving as the premise of the study, and in the direction of academic interest. In addition, by borrowing the concepts of “daily narrative” from the study of oral literature and “contemporary folktale” from the study of folktales, this paper intends to deconstruct the bias that has alienated “Futari no Yakunin,” and reposition the work as a folkloric tale (min-dan).

著者

原田 礼帆 Harada Ayaho

出版者

名古屋大学大学院人文学研究科図書・論集委員会

雑誌

名古屋大学人文学フォーラム (ISSN:24332321)

巻号頁・発行日

vol.3, pp.1-17, 2020-03-31

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The objective of this article is to describe the acceptance of Rimpa by Imamura Shiko (1880-1916). He is one of representative Japanese painters in late Meiji and early Taisho era. And also he is famous for the artist who likes the style of Rimpa. However there are few studies which reveal how Shiko studied Rimpa on the way to search for “New Japanese art”. In peak period of work, he made three paintings which have same theme: “Ise Monogatari”. He rarely made paintings of the same theme. Also, this theme has been taken over by Rimpa. Therefore this article focuses specifically on three “Ise Monogatari” themed paintings by Shiko and indicates the changing among those paintings. The first chapter suggests the subject and surveys the theme of “Ise Monogatari” as paintings. It is popular theme in Japanese art and there are famous works by Rimpa. The second chapter describes details of three paintings by Shiko. First of all, “Narihira Azuma kudari” was painted in 1911. Next, “Utsu no Yamaji” was painted in 1912. Lastly, “Tsuta no hosomichi” was painted in 1913. All paintings set theme in “Azuma kudari” from “Ise Monogatari”. And also this chapter compares characteristic points of three paintings: the expression of figure and the depiction of nature. Shiko followed his master’s way in early period. His master is famous for historical paintings which expresses fine figures. However, he introduced style of Yamato-e for second one. And third one draws near style of Rimpa. The third chapter defines process and importance of acceptance of Rimpa by Shiko in modern Japanese paintings. Ogata Korin has been realized the importance in the middle of the Meiji era. Nevertheless, only few people recognized Tawaraya Sotatsu in that time. Shiko and his patron contributed to revival Sotatsu’s way in modern. The fourth chapter concludes Shiko accepted way of Rimpa for his painting step by step. And his painting was changing by the degree of his understanding of Rimpa’s way. The observations may help to develop the investigation of Shiko’s late paintings in the movement of creating “New Japanese art”. Moreover, it may be useful to those who investigate Japanese paintings in Taisho era.