出版者

愛知大学東亜同文書院大学記念センター

雑誌

同文書院記念報

巻号頁・発行日

vol.28, pp.255-256, 2020-03-31

著者

星原 大輔

出版者

愛知大学東亜同文書院大学記念センター

雑誌

同文書院記念報

巻号頁・発行日

vol.28, pp.241-246, 2020-03-31

著者

藤田 佳久

出版者

愛知大学東亜同文書院大学記念センター

雑誌

同文書院記念報

巻号頁・発行日

vol.28, pp.179-204, 2020-03-31

著者

石田 卓生

出版者

愛知大学東亜同文書院大学記念センター

雑誌

同文書院記念報

巻号頁・発行日

vol.28, pp.167-178, 2020-03-31

著者

長谷川 怜

出版者

愛知大学東亜同文書院大学記念センター

雑誌

同文書院記念報

巻号頁・発行日

vol.28, pp.75-84, 2020-03-31

著者

藤田 佳久

出版者

愛知大学東亜同文書院大学記念センター

雑誌

同文書院記念報

巻号頁・発行日

vol.28, pp.29-50, 2020-03-31

著者

藤田 佳久

出版者

愛知大学東亜同文書院大学記念センター

雑誌

同文書院記念報

巻号頁・発行日

vol.28, pp.5-28, 2020-03-31

著者

GERLINI Edoardo

出版者

人間文化研究機構 国文学研究資料館

雑誌

第43回 国際日本文学研究集会会議録 = PROCEEDINGS OF THE 43rd INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:03877280)

巻号頁・発行日

no.43, pp.129-150, 2020-03-26

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The word “Classics (koten)”, invented in the modern period, is often used to indicate the “culture of the past” in contrast with the concept of “modernity”. This use of the word koten reinforces the wrong idea that “things of the past”, being substantially unrelated with the present, are in practice useless to the understanding of issues affecting modern societies. This misunderstanding is probably the main reason leading to the so-called “crisis of the classics” in the last decades.   On the other hand, social processes like the use, re-creation and valorization of the culture of the past in the present have led to the birth and thriving growth of the new academic field of “heritage studies” (Laurajane Smith 2006). Drawing on this new approach, which considers the “things of the past” as a tool to tie past cultures to present identities, I argue that rethinking “classical literature” as a form of “textual heritage” can offer new insights into the debate about the “crisis of classics” today.   To negotiate present identities through dialogue with the past is not necessarily a modern conception, but it is something that always happened in every age (David Harvey 2001, 2008). In the case of Japanese Classical Literature of the Heian period, authors always produced texts―of which literary works were but a subset―through the reading and quoting of past masterpieces, in both direct and indirect manners. But how was the idea of the past shaped in the writing of Heian poets who inherited and reused style and contents from Man’yōshū or the Wenxuan, and how did this intertextuality lead to the creation of a present identity in contrast or continuity with the past?  In today’s presentation I will draw on the idea of “textual reenactment” (Wiebke Denecke 2004) to identify into the text of kanshi and waka collections’ prefaces of Nara and early Heian a specific discursive construction about the past, similar to processes of “heritagization” theorized by scholars of heritage. This paper is also intended as a mid-term result of the three years’ fellowship I briefly anticipated during the 42nd International Conference on Japanese Literature in 2018.

著者

BUGNE Magali

出版者

人間文化研究機構 国文学研究資料館

雑誌

第43回 国際日本文学研究集会会議録 = PROCEEDINGS OF THE 43rd INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:03877280)

巻号頁・発行日

no.43, pp.33-44, 2020-03-26

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Noh is often composed of a variety of texts, such as quotations taken from literacy sources, waka insertions or even parts of Buddhist scriptures. While the complex intertextuality in the lyrics of a noh play shows the diversity of the medieval literary world, it may also render the meaning of the lyrics unintelligible.   Zeami was the first medieval actor to discuss the complex structure of a noh play. Some of this teaching was passed down through secret treatises to his son-inlaw, Konparu Zenchiku (1405-1470?), during the Muromachi era. While Zenchiku inherited the fukushiki-nô (noh in two parts) created by Zeami―a style of play that distances itself from the realistic timeline commonly used in dialogue-centric theater in the early 14th century―he didn’t consider the physical theory of Zeami’s art. In addition, diverging from the literary norms established by Zeami, Zenchiku created plays that are often evaluated as ambiguous due to the fact that the texts inserted into them appear to have been quoted out of context. How did Zenchiku receive and adapt Zeami’s teachings? How did the transition from imitation of the master’s thoughts to the process of art creation happen in noh theater during the Muromachi era?   In order to solve this problem, this presentation considers the multiplicity and diversity of medieval playwrights through the concept of “intertextuality”. More specifically, we will analyze the interrelationships (citations, metaphors, waka insertions, rewritings, etc.) between the playwrights Zeami and Zenchiku. By doing this we hope to look through a new lens at Zenchiku’s work.

著者

馬 如慧

出版者

人間文化研究機構 国文学研究資料館

雑誌

第43回 国際日本文学研究集会会議録 = PROCEEDINGS OF THE 43rd INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:03877280)

巻号頁・発行日

no.43, pp.17-32, 2020-03-26

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When we talk about the word “azayaka” in modern Japan, we always take it as a word describing flowers or clothes which are colorful and brilliant. On the other hand, we also use “azayaka” to describe skills or techniques which are remarkable. Nevertheless, usually, we don’t use this word to describe someone’s personality. In Japanese premodern literatures, we could also find the word “azayaka” being used very limitedly, only to describe clothes or utensils which were extremely gorgeous, until The Tale of Genji came into the world. The usages of “azayaka” changed a lot in the wake of this tale, mainly reflected in being used to describe someone’s nature and the emergence of the verb “azayagu”. In The Tale of Genji, the word “azayaka” is used 37 times (including “azayagu”) , in which we can find it used on 20 occasions to describe various characters, 16 of which refer not only to their appearances but also their personalities. And what’s more, when it comes to describing characters’ personalities in the tale, “azayaka” was always used to describe male characters, especially Tō no Chūjō, Yūgiri, and Higekuro. On the other hand, Tō no Chūjō, Yūgiri, and Higekuro were also described as “wowoshi” (masculine), and in that case, we can find “azayaka” being used very close to “wowoshi” for 4 times. Therefore, maybe we can assume that “azayaka” was used as a word representing masculinity. However, when it comes to the Uji chapters, “azayaka” started to be used to describe female characters, but it was only limited to Yūgiri’s daughter Rokunokimi, and Higekuro’s daughter Ōigimi, from which we can see the similarity of father and daughter in the story. Yet, in monogatari tales after The Tale of Genji, “azayaka” was more likely to be used when describing female characters. The meaning of the word “azayaka” has changed a lot since The Tale of Genji, which apparently had a bearing on the character modeling, but nothing of that has been researched yet. In this presentation, I would like to explore the relationship between the changing meanings of “azayaka” and the character modeling in The Tale of Genji, and the influence of this on the tales after The Tale of Genji.

著者

KOMOVA Ekaterina

出版者

人間文化研究機構 国文学研究資料館

雑誌

第43回 国際日本文学研究集会会議録 = PROCEEDINGS OF THE 43rd INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE (ISSN:03877280)

巻号頁・発行日

no.43, pp.1-16, 2020-03-26

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Frequently cited as the world’s first psychological novel, Genji monogatari (c. 1008) has been widely praised for its uncanny ability to relate its characters’ emotions in so real a manner so as to stir the audience’s feelings as if the experiences were their own―and yet, virtually no studies have hitherto touched upon this subject at length. The presentation in question seeks to explore the manner in which the text produces affective reactions in both its characters and readers and fosters emotional communities between them, focusing on the death scenes of Yûgao and Lady Murasaki in particular. Generally-speaking, “affect” denotes the emotional, psychological or even physical response of a group of individuals such as readers, listeners or participants to a highly emotional situation, stimulus or work; “affect studies” examines the various ways that this emotional response is expressed and communicated within a specific community. A group of individuals that shares a set of similar emotional responses due to their common values or preferences in turn forms an “emotional community.” The death scenes in Genji monogatari provide an especially fertile ground for this type of analysis considering that they rarely center around the deaths themselves, and focus instead on their effect on the surrounding characters and the overall narrative development, often with the use of highly specific language and imagery. The following presentation will examine the way in which the Genji narrative constructs its emotional scenes―namely those dealing with the deaths of Yûgao and Lady Murasaki―through the use of language, poetry, landscape, and narrative in order to create situations in which its characters and its readers respond in highly emotional ways. I believe that Genji’s innovative incorporation of poetic diction (kago) and citations (hikiuta) into prose had the effect of increasing the affective impact of the prose and expanding the associative scope of the poetry (waka). As such, I hope to analyze the relationship between the use of particular types of poetic and seasonal imagery in Genji and their capacity to elicit specific types of affective responses.

著者

小川 武彦

出版者

跡見学園女子大学

雑誌

跡見学園女子大学紀要 = Journal of Atomi Gakuen Women's College (ISSN:03899543)

巻号頁・発行日

no.11, pp.一九-三五, 1978-03

著者

森 岳志 中川 正樹 高橋 延匡 中森 眞理雄

雑誌

情報処理学会論文誌 (ISSN:18827764)

巻号頁・発行日

vol.29, no.8, pp.807-814, 1988-08-15

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本論文は 新しい浮動小数点表現法の比較・評価を行う環境を提供することを目的とし OS用言語CコンパイラCATに複数通りの浮動小数点表現法を実現したことについての報告である.本研究では (1)URR (2)IEEE表現法(3)MIL-STD-1750A表現法の3種類の表現法をサポートしている.さらに 表現法の選択を (ア)コンパイル時に行う方法 (イ)実行時に行う方法の両者を用いて実現した.後者の方法は 効率の良い評価環境を与えることを目的として考案された方式で 評価の際のコンパイルとリンクの手間を軽減し 新たに表現法を追加したとしても浮動小数点演算ライブラリの再編成だけを行えばよく プログラムの再コンパイルを必要としないことなどの特徴を有している.定数の扱いに問題が生じたが 現時点では実行時に内部表現に変換することによって解決している.

著者

山西 健斗 小倉 正義 Kento YAMANISHI Masayoshi OGURA

出版者

鳴門教育大学地域連携センター

雑誌

鳴門教育大学学校教育研究紀要 = Bulletin of Center for Collaboration in Community Naruto University of Education (ISSN:18806864)

巻号頁・発行日

vol.33, pp.79-83, 2019-02

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本研究では,児童の学習及び学習に対する心理的な側面と学校適応感との関連について,レビューを通して明らかにし,児童の学習に関する研究の今後の方向性について展望することを目的とした。レビューの結果,2000年から2018年までに刊行された学習と学校適応感の関連を検討した論文について⑴小学校4年生から6年生までの児童を対象とした研究が多いこと,⑵学習のとらえ方は研究者によって様々であること,⑶学習と学校適応感との相関は認められるが,学習から学校適応感への影響は研究によって異なることが明らかになった。今後は,学習の適応感が低くても学校適応感の高い児童の存在を考慮したうえで研究を進める必要がある。

著者

麓 和善 鈴木 光雄 河田 克博 内藤 昌

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

no.490, pp.155-162, 1996-12-30

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Design about the eaves is a very important factor to construct exterior on Japanese traditional architecture. In the Edo and Meiji era, many Japanese architectural books were written. But eaves camber design method was not written until Banshouke Kayaoisori Mitugousinri which was written by Tousai Kiko in 1864. After that, 12 books were written. We universalize these methods by functional equations, and attempt to make practicable by CAD. We examine the rate of application for architectural monuments by computer analyzing, and propose Formula of Eaves Camber for CAD as best formula.

著者

木村 洋太

出版者

桜花学園大学学芸学部

雑誌

桜花学園大学学芸学部研究紀要 = Journal of the School of Liberal Arts (ISSN:18849865)

巻号頁・発行日

vol.9, pp.93-100, 2018-02-28

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大学全入時代の到来により、高等教育における学生の多様化が進んでいる。学生の学力低下の問題、発達障がいを始めとする合理的配慮を必要とする学生の増加の問題などに対して各高等教育機関は、これまで以上にその対策と対応、必要な修業支援体制の整備に追われている。このような社会的な背景の中で、大学教員および職員は、学生の心身・情勢の問題理解、心理的・教育的支援の在り方、相談姿勢の在り方について、再認識を求められているといえるだろう。そこで本稿では、現代大学生のこころの様相を捉えつつ、教員レベルでの学生相談の役割を再確認していくこととする。特に、青年期前半に形成される特徴的な友人関係であるチャム・グループが、大学や短期大学などの高等教育機関においてもいまだ散見されることを踏まえつつ、自由と不安の中で模索する学生たちにどのように寄り添っていくのか考察を試みる。

出版者

国際日本文化研究センター

巻号頁・発行日

2016-11-30

雑誌

情報処理

巻号頁・発行日

vol.61, no.6, 2020-05-15

著者

高橋 節子

雑誌

白鴎大学論集 = Hakuoh Daigaku ronshu : the Hakuoh University journal (ISSN:09137661)

巻号頁・発行日

vol.16, no.1, pp.119-124, 2001-09-01

著者

川平 均

出版者

跡見学園女子大学

雑誌

跡見学園女子大学紀要 = Journal of Atomi Gakuen Women's College (ISSN:03899543)

巻号頁・発行日

no.12, pp.七一-一一二, 1979-03