著者

中村 哲也 慶野 征[ジ] 吉田 昌之 Tetsuya Nakamura Keino Seiji Yoshida Masayuki

巻号頁・発行日

vol.3, pp.47-67, 2005-03-31

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本稿は、果実の地域需要が如何に変化し、如何なる要因によって地域間格差が存在したのかを、地方及び都道府県の側面から、需要関数を推定することによって明らかにした。分析の結果を要約すると以下の通りである。(1)3大地域別データに基づく需要分析では、1973年のオイルショック後、1988年の貿易自由化・バブル崩壊後、国内需要に変化が見られたが、前者の変化の方が大きかった。(2)都道府県別データに基づく需要分析では、果実需要の減退を表す変数を導入し推定したが、国内外産を問わず、主要5 果実の需要は大きく減退した。各果実の価格弾力性は、みかんでは産地において非弾力的であるが、りんご、なし、すいかでは産地でも弾力的であった。また、みかん、バナナは全国的に平準化した需要形態をとるが、りんご、なし、すいかなどは、地域特化した需要形態をとり、現在でも地域間格差が大きい。

出版者

国立極地研究所

雑誌

極地研ニュース = NIPR news (ISSN:09110410)

巻号頁・発行日

no.91, pp.1-8, 1989-06

著者

ウィルソン リチャード L. 小笠原 佐江子

出版者

国際基督教大学キリスト教と文化研究所

雑誌

人文科学研究(キリスト教と文化) = Humanities: Christianity and Culture (ISSN:00733938)

巻号頁・発行日

no.49, pp.(1)-(129), 2017-12-15

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Iconography of Kenzan Ware: Japanese Poetic Themes: Waka, Monogatari, and Noh Abetted by peace and prosperity, and by the strategic utility of cultivated pastimes in an era of regime change, Japanese literary themes enjoyed an unprecedented florescence in the seventeenth century. As scions of a wealthy merchant house serving the highest echelon of the imperial court, the Ogata brothers Korin (1658-1716) and Kenzan (1663-1743) were steeped in classical verse (waka), narrative (monogatari), and drama (noh) traditions. With the decline of their family business at the end of the century both brothers were compelled to convert this “habitus” into production of painting, lacquer and ceramic design. Their contributions form the core of what came to be known as the Rinpa school. The early-modern treatment of the indigenous literary tradition is marked by new modes of packaging and dissemination. While prose and poetry themes are hardly new to the crafts, Kenzan’s synthesis of theme, calligraphy, painting and ceramic form is entirely without precedent. In order to take full measure of this approach, the authors surveyed all known works inscribed with Japanese poetry and noh-drama lyrics attributable to Kenzan and his workshop, totaling 20 sets (as presently constituted) and individual objects, for a total of 223 pieces. All inscriptions were transliterated and traced to their classical sources. Below we summarize the findings for waka and noh, with special attention to selection, pictorialization, and text-picture-object relationship. Monogatari and poet- portrait (kasen) themes are relatively few in number and thus excluded from this summary. For ceramics inscribed with waka, Kenzan showed a preference for poetry by and related to Fujiwara Teika (1162-1241) and for poetry by Sanjonishi Sanetaka (1455-1537). The Teika-legacy material includes “Teika’s Ten Styles of Poetry” (Teika jittei, 1207-1213), Manuscript of Remnants (Shui guso, 1216), Single Poems by One Hundred Poets (Hyakunin isshu, 1235), and “New Six Poetry Immortals” (Shin rokkasen, 1505). The Sanetaka verses are all extracted from Jewels of Snow (Setsugyokushu, n.d.). The interest in Teika reflects his centrality in the medieval literary tradition and posthumous links to noh, tea ceremony, and calligraphy. Kenzan was in agreement with his contemporaries in frequently using “Birds and Flowers of the Twelve Months” (Junikagetsu waka, 1214), originally included in Shui guso. As for Sanetaka, there is a tenuous connection to the Mikohidari line of poets descended from Teika, and Sanetaka is renowned in the tea ceremony for instructing Takeno Joo (1502-55) in Teika’s poetics; additionally Kenzan probably favored Sanetaka for the topics of his poems, especially “poems on things” (daiei) that were readily adaptable to pictures. Pictorialization of waka (uta-e) accelerated in the mid-seventeenth century after a long hiatus. Decoration on Kenzan’s Teika twelve-month dishes relate closely to painted versions, especially those in an album in the Idemitsu Museum bearing the signature of Kano Tanyu (1602-74). Other poetic vignettes have a basis in the kai-e (literally “poem-meaning picture”), abbreviated scenes that first appear around 1660, inserted above portraits of classical poets (kasen-e) also associated with Tanyu. The kai-e becomes a fixture in illustrated manuals from the 1670s, exemplified by Hishikawa Moronobu’s Single Poems by One Hundred Poets, with Commentary (Hyakunin isshu zosansho, 1678). The simplification and modularizing tendency in the kai-e commended it to ceramic décor. Befitting a man of letters, Kenzan adroitly manipulated the relationship between the text, picture, and vessel. The permutations include 1) dishes with picture on the front and poetry on the back, 2) dishes with picture and poetry on the front, 3) paired dishes with pictures and the first and second halves of a poem on the respective halves, 4) the same as previous but without pictures, and 4), dishes with (complete) poems only. The strategy reflects the social aspect of the waka tradition, rooted in uta-awase but with playful innovations like cards (karuta) reaching maturity in the seventeenth century. Kenzan and his brothers participated in non-guild noh drama (tesarugaku) from an early age, and recent scholarship has underlined the influence of noh on Korin’s art. Kenzan’s experience is revealed in sets of dishes decorated with noh-drama themes. The front of each dish is painted with an evocative scene or object related to a specific play and the back features an excerpt from that play’s script. An originary model for the pictures can be found in hand-painted covers of deluxe noh libretti (utaibon) from the early seventeenth century, but Kenzan’s schematization parallels the aforementioned kai-e. The calligraphic excerpts on the back of the dishes are key passages from the respective plays: these excerpts, called ko-utai, were expected recitation material for celebratory and social events, and ko-utai compendia were best-sellers in Kenzan’s day. The authors have tried to demonstrate that Kenzan wares with Japanese literary themes are closely related and indebted to early modern appropriations of classical Japanese literature and trends in its pictorialization. However the versatile design strategies—particularly the sensitive deployment of writing, centered around calligraphic inscriptions from Kenzan’s own hand—must be seen to reflect the sensibilities and skills of Kenzan himself. This helps to explain why Edo-period Kenzan imitators rarely attempted to work in this mode.

著者

濱本 亮 佐々木 貴之 森田 佑亮 三好 一徳 小林 俊輝

雑誌

コンピュータセキュリティシンポジウム2017論文集

巻号頁・発行日

vol.2017, no.2, 2017-10-16

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GlobalPlatform によってTrusted Execution Environment (TEE) と呼ばれるハードウェアレベルのセキュリティ機能が定義されており,組み込みデバイス向けのCPUを展開しているARM ではTEEの実装例としてTrustZoneと呼ばれる機能が公開されている.しかし,TEEによって構成されたセキュアなメモリ空間(セキュア空間)はアクセス権限が1種類しか設定できず,アーキテクチャ設計の柔軟に欠ける.そこで本稿では,TEEのセキュア空間が持つ権限を多段階で設定できるアクセス制御の基本設計を提案する.

著者

佐藤 千里

出版者

千葉商科大学国府台学会

雑誌

千葉商大論叢 (ISSN:03854558)

巻号頁・発行日

vol.54, no.2, pp.259-274, 2017-03

著者

久礼 克季 クレ カツトシ Katsutoshi Kure

雑誌

史苑

巻号頁・発行日

vol.79, no.1, pp.13-34, 2019-03

出版者

埼玉大学教養学部

雑誌

埼玉大学紀要. 教養学部 = Saitama University Review. Faculty of Liberal Arts (ISSN:1349824X)

巻号頁・発行日

vol.55, no.1, pp.157-178, 2019

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本稿は、2019年6月15日(土)におこなった、埼玉大学創立70周年記念リベラルアーツ連続シンポジウム3「池谷薫監督『蟻の兵隊』をめぐって-人間を撮る 人間の尊厳個人と戦争」の講演および討論を誌上にて掲載したものである。映画上映後、池谷薫監督の講演に続き、討論者として埼玉大学大学院人文社会科学研究科の一ノ瀬俊也教授と、小野寺史郎同研究科准教授が討論者としてコメントをおこない、質疑応答へと移った。司会は、牧陽一同研究科教授が担当した。主催は、埼玉大学教養学部/大学院人文社会科学研究科である。

著者

茂木 敏夫

雑誌

東京女子大学紀要論集 (ISSN:04934350)

巻号頁・発行日

vol.65, no.1, pp.45-61, 2014-09-30

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The world order that prevailed in East Asia was one in which relations between Chinese dynasties and neighboring countries, regions, and social groups were formed as relationships of tribute and investiture on basis of Sinocentric civilized/barbarian thought and the Confucian ideals of rule by virtue and propriety. This interpretation has become fixed in recent years, and it is now necessary to reconsider.

著者

臺 利夫

出版者

文教大学

雑誌

人間科学研究 = Bulletin of Human Science (ISSN:03882152)

巻号頁・発行日

vol.18, pp.77-84, 1996-12-01

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More pretty persons are preferred. It is apt to be thought that more beautiful women are more likely than less beautiful women to do good. People who are objects of our first impressions are not known to us. We have limited information about them. Whenever we meet new people, beauty of face is a key factor in our liking of other people. But beautiful women will be not necessarily be happy. In enduring relationships it seems to follow that we do not rank beauty of face as very important in our ranking of other people. We lower our sights somewhat so that there is a balancing with beauty of personality. Regardless of whether beauty of face was once the basis for love relationships, familiarity in married life produces greater liking than love at first sight. Though people's attitudes foward beauty of face are more or less associated with erotic desire pertaining to a sense of beauty, mere erotic desire as such does not clarify one's sense of beauty. It might aesthetically be said that beauty of face is created in the image of symmetry in nature. But human beauty transcends rational comprehension and is wrapped up in mysterious atmosphere. A Beautiful face, what first figures as a superficial trait, is imbued with substantial meaning.

著者

松谷 了玄

出版者

大谷学会

雑誌

大谷学報 = THE OTANI GAKUHO (ISSN:02876027)

巻号頁・発行日

vol.43, no.4, pp.69-71, 1964-03

著者

井上 周八 イノウエ シュウハチ Shuhachi Inoue

雑誌

立教經濟學研究

巻号頁・発行日

vol.40, no.3, pp.59-100, 1987

著者

井上 周八 イノウエ シュウハチ Shuhachi Inoue

雑誌

立教經濟學研究

巻号頁・発行日

vol.40, no.1, pp.1-40, 1986

著者

若林 隆久 Takahisa Wakabayashi 高崎経済大学地域政策学部

雑誌

地域政策研究 = STUDIES OF REGIONAL POLICY (ISSN:13443666)

巻号頁・発行日

vol.19, no.2, pp.65-74, 2016-11-30

著者

秋山 憲治 Kenji AKIYAMA

出版者

静岡理工科大学

雑誌

静岡理工科大学紀要 = Bulletin of the Shizuoka Institute of Science and Technology (ISSN:09195440)

巻号頁・発行日

vol.23, pp.39-47, 2015-06-01

著者

津田 眞澂

出版者

青森公立大学経営経済学研究編集委員会

雑誌

青森公立大学経営経済学研究 = Aomori Public College Journal of Management & Economics (ISSN:13419404)

巻号頁・発行日

vol.3, no.1, pp.20-60, 1997-09-15

著者

金沢 文緒 KANAZAWA Fumio

出版者

岩手大学教育学部

雑誌

岩手大学教育学部研究年報 = The Annual Report of the Faculty of Education Iwate University (ISSN:03677370)

巻号頁・発行日

vol.77, pp.17-39, 2018-03-28

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The wood carving, Virgin and Child on the Crescent, was acquired by the Department of Art and Design, Faculty of Education, Iwate University, around 1960. It was purchased as art-education material for students, and the relevant art-historical research has not been conducted in the 50 years since its acquisition. This study elucidates the background of the workʼs production, as well as the reception of such Christian art in modern Japan. This paper is the first report of the study.The first part of the paper describes the characteristics of the sculpture, based on visual observation. The second part presents the results of wood identification research, as preparation for art historical investigation. The third part reveals when and where the work was executed, based on iconographic analysis, and elucidates its function through consideration of the cultural environment. The fourth part explores the context of the purchase of the work by Iwate University.In sum, the limewood sculpture was produced in Southern Germany in the second half of the fifteenth century, and the iconography of “Virgin and Child on the Crescent” is closely related to the cult of the Virgin Mary, which was widespread in Germany before the Protestant Reformation. In Japan, the sculpture was originally located in Kobe, where many Germans have lived since the opening of the country.

著者

萩原 建次郎 ハギワラ ケンジロウ Kenjiro Hagiwara

雑誌

立教大学教育学科研究年報

巻号頁・発行日

vol.53, pp.65-77, 2010-03-20

出版者

BOC出版部

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「あの戦争」を語り継ごうI詩 主語を刻む しま・ようこ巻頭言「戦時レジーム」の復活ではないか 井出孫六私にとっての「満州」平防-一九四五年夏 桑原ちえ子私の張家口 酒井はるみ風化させたくない葛根廟事件 大嶋満吉敗戦後の大連でのあれこれ 羽田澄子ハルビンで留用されて 高畠雅映満州の収容所で死んでいった孤児たち 増田昭一今も終わらぬ戦後1 中国残留婦人と中国残留孤児中国残留婦人・残留孤児はなぜ生まれたか 小川津根子「大陸の花嫁」と「勤労奉仕隊」の名のもとに 鈴木五三美さんの場合関東軍にも国にも見捨てられ松田恵子さんの場合私が出会った中国残留婦人 班忠義「烏雲」の森-日中の架け橋になった中国残留孤児 小俣光子今も変わらぬ戦後2 シベリア抑留と強制労働補償明治以降の大陸侵略がもたらした災厄-日本人捕虜のシベリア抑留とは何か? 白井久也シベリア抑留捕虜に対する不当な差別待遇-次代の人びとに、これだけは伝えたい 池田幸一シベリア抑留、そして北朝鮮へ移送 飢えと寒さの中で呻吟する 野口富久三痛ましいシベリア抑留の思い出 全身大火傷の戦友はいずこに 岸本美雄ロシア オレンブルグ市で眠る父を訪ねて 高井光子「戦争」に学ぶ「撫順戦犯管理所」の六年 絵鳩殻日本軍の「生体解剖」痛恨の証言-未来に向けて- 湯浅謙張学良と私の関係 儀我壮一郎戦争史を学ぶ若者たち……-最近の大学生の受講態度とその読書傾向- 吉田曠二窓 違憲教育基本法の実現を許さないために 俵義文編集後紀

著者

羽藤 雅彦

著者

安村 仁志 Xumocu Ясумура

雑誌

中京大学教養論叢 = Chukyo University bulletin of the Faculty of Liberal Arts (ISSN:02867982)

巻号頁・発行日

vol.31, no.3, pp.927-943, 1991-02-25