著者
Mitsue Ishisaka Kenichi Kakefuda Mika Yamauchi Kazuhiro Tsuruma Masamitsu Shimazawa Akifumi Tsuruta Hideaki Hara
出版者
公益社団法人日本薬学会
雑誌
Biological and Pharmaceutical Bulletin (ISSN:09186158)
巻号頁・発行日
vol.34, no.9, pp.1481-1486, 2011-09-01 (Released:2011-09-01)
参考文献数
34
被引用文献数
18 71

Depression is a significant public health problem and some reports indicate an association between depression and endoplasmic reticulum stress. Luteolin is a flavonoid contained in many plants and with a variety of known pharmacological properties such as anti-inflammatory, anti-anxiety, and memory-improving effects, suggesting that luteolin penetrates into the brain. In the present study, we investigated the effects of luteolin on endoplasmic reticulum stress-induced neuronal cell death. Luteolin significantly suppressed tunicamycin-induced cell death at 1 to 10 μM in human neuroblastoma cells. Luteolin increased in the expression of the 78 kDa glucose-regulated protein and 94 kDa glucose-regulated protein and decreased in the cleavage activation of caspase-3. Additionally, to investigate whether chronic luteolin treatment has an antidepression effect, we performed some behavioral tests. Chronic luteolin treatment showed antidepressant-like effects in behavioral tests and, luteolin attenuated the expression of endoplasmic reticulum stress-related proteins in the hippocampus of corticosterone-treated depression model mice. These findings indicate that luteolin has antidepressant-like effects, partly due to the suppression of endoplasmic reticulum stress.
出版者
海人社
雑誌
世界の艦船
巻号頁・発行日
no.628, pp.55-120, 2004-07
著者
須永 哲矢 堤 智昭 高田 智和
雑誌
研究報告人文科学とコンピュータ(CH)
巻号頁・発行日
vol.2012, no.2, pp.1-6, 2012-07-28

国内規格JIS X 0213に定める「漢字の字体の包摂規準」の,明治前期漢字活字に対する有効性を,当時の雑誌『明六雑誌』の電子化を通じて検証した.『明六雑誌』第1号,第26号の2冊,計7,442漢字を対象に調査を行ったところ,JIS X0213文字集合のみで処理した場合のカバー率は86%であった.これに対し包摂規準を適用して処理を行うと,199設定されている包摂規準のうち81が実際に使用され,カバー率も98%まで向上することが確認できた.The domestic standard for kanji character codes, JIS X 0213, prescribes the "unification standard of kanji character forms", a regulation to be applied to kanji variants. The paper examines the effectiveness of the unification standard over the printing types of the early part of the Meiji period, using "Meiroku Zasshi" as a sample. In the course of construction of an electronic corpus of "Meiroku Zasshi", we conducted research upon 2 issues (1st and 26th). Among 7,442 kanji printing types included in the sample, 86% initially correspond to the character set of JIS X 0213. When the unification standard is applied to the processing, with 81 out of the total 199 detailed regulations being employed, another 12% printing types are newly processed, increasing the total processing rate to 98%.

2 0 0 0 OA 数学要義

著者
荒川乙吉 著
出版者
丸善
巻号頁・発行日
1904

2 0 0 0 OA 軍馬の声

著者
鎌田覚之進 著
出版者
文成社
巻号頁・発行日
1912
著者
登 久希子
出版者
日本文化人類学会
雑誌
文化人類学 (ISSN:13490648)
巻号頁・発行日
vol.76, no.2, pp.171-181, 2011-09-30

This paper considers the method of studying contemporary art from an anthropological viewpoint, focusing on the case of making installation art. In contrast to previous institutional studies, which focus on the modern Western system of art as the "art world" and the "art-culture system," it considers the making of art ethnographically following the interaction between human and non-human actors. In the field of contemporary art, such as galleries and art centers, an ordinary object hardly ever transforms suddenly into an object to be admired as a work of art. Becoming art is regarded, rather, as a gradual process. To study art in the making enables us to see the works of contemporary art not only as the result of a status elevation within the system of art, but also as a bundle of relationships formed through the process of the mutual transformation of human and non-human actors. Both Acord [2010] and Yaneva [2003] study the making of installation art and the installation of art referring to the Actor Network Theory. Their studies make it clear that artworks and exhibitions are generated through the continual interaction between human and non-human actors, including curators, artists, and the various materials found in museum settings. As Yaneva suggests, it is important to see artists not as sole creative actors but as the vehicles of other participants' agency [Yaneva 2003b: 178]. However, in the making of installation art, the discourses and practices of creativity are often more complex than Yaneva and Acord describe. The art historian, Claire Bishop, points out the "fine line" between installation art and the installation of art. On one hand, she says that installation art is made up of "the ensemble of elements within it" and regarded as a "singular totality," while the installation of art is "secondary in importance to the individual works it contains" [Bishop 2005:6]. Bishop indicates that the line has been ambiguously drawn by the actors dealing with contemporary art. That relates to discussions about the "creativity" of curators, who are often recognized as the authors of exhibitions, and even occupy the status of quasi-artists in the field of contemporary art. Although neither Acord nor Yaneva decipher a particular difference between them, that very ambiguity results from the nature of contemporary art, which should be carefully examined. By comparing those ethnographic studies, this paper uncovers the need to reconsider the lines drawn between artists and curators, as well as installation art and the installation of art, which blur the field of contemporary art by following actors to see how they separate and obscure the source of "creativity."
著者
柴田 洋昭 今福 道夫
出版者
日本鱗翅学会
雑誌
蝶と蛾 (ISSN:00240974)
巻号頁・発行日
vol.60, no.4, pp.268-276, 2010-03-15

ツマグロヒョウモンArgyreus hyperbiusとミドリヒョウモンArgynnis paphiaの食草外産卵について調べた.母蝶による産卵場所は,食草およびそれ以外のものを含むケージの中で,卵の被食率は野外の自然条件下で調べた.ツマグロヒョウモンは,食草にも食草外にも産卵したが,石や枯れ葉よりは生きた植物に多く卵を生み,また食草近くに多く生む傾向を示した.ミドリヒョウモンは食草から離れたケージの上部に産卵した.ミドリヒョウモンの卵の被食率は地表付近で高かったことから,本種の高所への産卵習性は,地上捕食者から卵を守るために進化したものと思われた.一方,しばしば見られたマグロヒョウモンの食草外産卵については,被食回避や,産卵習性の移行の可能性を検討した.
著者
岩本 俊彦
出版者
東京情報大学
雑誌
東京情報大学研究論集 (ISSN:13432001)
巻号頁・発行日
vol.16, no.1, pp.71-86, 2012-09-30

ツーリズム・マーケティングは、ツーリズムの活性化のためにマーケティングのコンセプトや政策、戦略を援用するものである。ツーリズムの目的地は、地域の歴史的背景、自然環境等に依拠する個性を保持しており、個性をツーリスティック・リソーシズとして活用している。他方で、わが国ではリスク分散を企図して、差異化とは反対に、総合的な施設の配置や総合的なパッケージを通じたツーリズムの標準化、画一化が進行してきた。パッケージ・ツアー、デスティネーションにブランドを付与して、ニュー・ツーリズムを導入しながら業容拡大を図るツーリズム産業の差異化政策の構造の複合性に着目する。そのうえで、ツーリズム産業の現在の課題と克服を通じた活性化のための差異化の態様を論じていく。
著者
源川 暢子
出版者
日経BP社
雑誌
日経レストラン (ISSN:09147845)
巻号頁・発行日
no.373, pp.92-96, 2006-08

東の「そば」に対して、西の「うどん」と言われるように、関西にはうどん文化が深く根付いている。それだけに、関西人のうどんへの思い入れは深く、味の評価も厳しい。 そんな"うどん激戦区"、しかも郊外にあって、この5月までは平日はランチタイム3時間だけの営業(土日祝日は夜も営業。