著者

金原 俊輔 Shunsuke Kanahara 長崎ウエスレヤン大学現代社会学部社会福祉学科 Faculty of Contemporary Social Studies Nagasaki Wesleyan University

巻号頁・発行日

vol.12, no.1, pp.19-36,

著者

高瀬 敦子

出版者

近畿大学英語研究会

雑誌

近畿大学英語研究会紀要 = Kinki University English Journal (ISSN:18827071)

巻号頁・発行日

no.2, pp.19-36, 2008-08-01

---

多読の効果を上げるには、授業内多読と平易な多読用本が不可欠である。授業内多読の効果は、忙しい学生の読書時間を確保できるためだけでなく、一斉読書により集中力を養い、教師の助言を受け、より効果的な多読を推進できるためである。平易な多読教材は、英語が苦手な学生の情意フィルターを下げ読む気を起こさせる。また、平易な教材をたくさん読むことにより多読初期段階での基礎固めができ、自動化が促進されてその後の進歩が容易になる。この研究では、毎週授業内で平易な本を使用し読書を行った再履修クラスと、毎週一定時間の授業内多読および授業外多読を行った1回生クラス、主に授業外でのみ読書を行った2回生クラスのリーディングカの伸びと多読に関する情意面の反応を比較した。結果は、1回生のクラスがリーディングカの伸びが一番大きく、再履修クラスがそれに続き、2回生の伸びが一番少なかった。多読に関するアンケートでは、再履修クラスがすべての項目で最高の肯定的な反応を示した。(英文) In-class SSR (Sustained Silent Reading) and easy reading materials are indispensable for a successful extensive reading program. SSR not only secures time for learners to read, but enables them to concentrate on reading under the guidance of a teacher. Easy materials lower the affective filter and motivate reluctant learners to read. A great abundance of easy materials also enables learners to acquire reading automaticity and facilitates a smooth upgrading of materials. This paper compares three different styles of practicing extensive reading: a group of repeaters who experienced SSR for a full period every week, two freshman groups who had some in-class SSR every week, and two sophomore groups who had hardly any in-class reading time. All the participants were encouraged to read outside of class. The results showed that the freshman classes gained most on the post EPER (Edinburgh Project on Extensive Reading) test, followed by the repeater group, who were also the most motivated to read.

著者

大谷 省吾

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.410, pp.38-54, 2013-09-13

---

Landscape with an Eye (1938) by Ai-Mitsu (1907–1946) is an altogether puzzling painting. The single eye, peering out at the viewer from the midst of a strange, lumpen, fleshy form, exerts a strong impression on its viewer, and yet a sense of mystery remains, what is the lump of flesh, whose eye is it? This painting is often called “a major example of Japanese Surrealism,” but what in fact actually influenced the painter to create this work? And is this positioning of the work appropriate? While various scholars have expressed a diverse range of interpretations, there has yet to be an established theory about the painting. In 2010 the Independent Administrative Institution National Research Institute for Cultural Properties, Tokyo, conducted an infrared photographic examination of the Landscape with an Eye. This article is an attempt at reinterpreting the painting on the basis of the new facts discerned from that examination. In detail, Part 1 considers the studies have been conducted on the work in the past and summarizes the previous issues raised, while Part 2 (to be published in Bijutsu Kenkyû 411) will discuss what new interpretations are possible based on the findings of the photographic survey.Part 1 Issues Were Raised by Previous Studies Landscape with an Eye was displayed in the 8th Dokuritsu Bijutsu Kyôkai exhibition held in 1938, where it was awarded the Dokuritsu Prize. At the time it was simply titled “Landscape [Fûkei].” Its current title was given to the work by a friend of the artist when a retrospective of Ai- Mitsu’s works was held in the post-war era. In 1966 the painting was acquired by the National Museum of Modern Art, Tokyo, and around that time the judgment that the painting is a major example of Surrealist painting created in Japan was set. Detailed analysis of the work and studies of its influence relationship particularly advanced in the years since the 1988 retrospective. Previous studies of the work have largely heralded two theories about the nature of the unidentified form that occupies the majority of the composition, stating it is either a lion, or a tree stump. From 1936 onwards, Ai-Mitsu visited the Ueno Zoological Gardens and made various sketches of the animals in the zoo and particularly created a large number of works with lion motifs. In all of these works the depiction of the lion is not literal and explanatory, but rather a section of the beast that would emerge from amidst a dark setting, or the animal is shown lying on its back. Thus he had a distinctive way of painting lions, and there are many scholars who believe that Landscape with an Eye was painted as along the trajectory from these lion images. In other words, up until now the persuasive argument has been that while he first began depicting lions, as he advanced in his depiction, gradually their forms were transformed, finally arriving at the creation of puzzling forms like that seen in this painting. There is also the theory that the form is simply the base of a tree stump. Mori Shikô, a painter and friend of Ai-Mitsu’s, recalled that around the first half of the 1930s Ai-Mitsu got a tree stump from the local gardener and brought it into his studio, where he used it in composing his paintings. In addition to the tree stump, Ai-Mitsu’s studio also included a mix of various objects, from bird corpses to dried fish and small stones. Thus the theory exists that these objets became the starting point for some of his works. There are convincing elements to both the lion and the tree stump theories. It is hard to deny either, and indeed one of the fascinating elements of this works is the duality of its images, and the fact that its images stand in the gap between formation and dismantling. On the other hand, there is one thing that is clearly painted in the composition, the eye. Up until now many of the scholars who have discussed the work have focused on the idea that in 1938, in other words a time when Japan was at war, Ai-Mitsu felt a sense of oppression, and the owner of this eye has been interpreted as either Ai-Mitsu himself, or it has been interpreted as the watchful eye of authority oppressing free expression. Dehara Hitoshi has noted the print by the Renaissance sculptor Jean Goujon that was published in the catalogue of the Fantastic Art, Dada, Surrealism exhibition held at the Museum of Modern Art, New York in 1936. This print was then re-published in the Japanese magazine Mizue. Dehara goes on to state that given the use of a “collage method in which a human eye was placed in the midst of an unrelated boulder,” Landscape with an Eye was in fact influenced by Surrealism. The fact that this strange lump in the composition has multiple interpretations also links it to Salvador Dali’s double image technique, and further suggests a Dali influence in the slight bit of horizon line visible on the right edge of the composition. For these reasons Dehara concluded that Landscape with an Eye is a major example of Japanese Surrealism. There are also those who have indicated the influence of Max Ernst and Kurt Seligmann. In fact, points in common between the Landscape with an Eye and Ernst’s series of forest paintings can also be indicated in areas such as the manner in which the border between forest and sky was painted. Seligmann himself came to Japan in 1936 and held a solo exhibition, and the glass paintings displayed in that show may have given Ai-Mitsu hints on layered pigment application. Ai-Mitsu was in fact influenced by all three – Dali, Ernst and Seligmann. However, is Landscape with an Eye simply a copy of the new Western trend known as Surrealism? Takiguchi Shûzô, an art critic who knew Ai-Mitsu recalled, “The voices he heard from Surrealism were actually unique to Ai-Mitsu. Truly, I remember feeling that there was something sudden in the way he took in Ernst.” Takiguchi had the impression that Ai-Mitsu deviated quite a bit from original Surrealism. Isn’t it this deviated bit itself that is important. What was it? Wasn’t there some way of opening painting to new potential in this deviation? What we must first clarify is this point. Then, if this kind of potential can be found in Landscape with an Eye, I propose that we should not position this Landscape with an Eye as “Surrealist painting in Japan,” but rather we should assign it a different position, one suitable for this new potentiality. The 2010 infrared examination of the painting will open the path to such a new interpretation. Part 2 of this article will discuss these issues in detail.

著者

大谷 省吾

雑誌

美術研究 = The bijutsu kenkiu : the journal of art studies

巻号頁・発行日

no.411, pp.27-38, 2014-02-21

---

Part II What observations can be made from the present study? An infrared photographic investigation of Landscape with an Eye was carried out in 2010 by Shirono Seiji of the National Research Institute for Cultural Properties, Tokyo. Two types of techniques were used, near-infrared reflection photography (light radiates from the object’s surface and the reflected light is captured), and near-infrared transmission photography (light radiates from the back of the work and the transmitted light is captured). Infrared light permeates more than visible light, and since materials such as pencil lead and charcoal absorb infrared rays, those areas show up on an infrared photography as black. Thus underdrawings and other elements of lower layers of a painting beneath the surface layer can be discerned. A comparison of the underdrawing imagery that emerges in such photography and the completed painting allow us to surmise the production process involved. The reflective near infrared photographs reveal to a degree the shape of a lump prior to the painter’s application of pigment in the sky area. The finished painting has a sense of volumetric mass, but in the underlying pigment layers, in other words, in the initial stages of the painting process, free and generously curving lines made up the form, and thus we can imagine that he gradually decided on the overall shape. Another noteworthy point can be found in the horizon line on the right edge of the composition that can be considered an important element in titling this work a landscape. In the lower pigment levels it is not a horizontal line, but rather is an unclear depiction that seems to be connected to the round form. In other words, during the production of this painting, it can be thought that more so than a landscape, it was an indeterminate shape that can only be called an object. Examination of the near infrared transmission photography reveals that in the initial production states an extremely unusual shape is depicted that differs from that in the finished version (in the photograph, the section that appears as dark black is not what was first painted, but rather is the top pigment layer that unfortunately was painted in pigments that include charcoal, and thus must be deducted from our consideration). While it is hard to determine exactly what this shape is, at the very least, the lion theory introduced in Part I of this paper does not seem possible. The most noteworthy element in this photograph, the eye in the center of the composition that can be considered the crux of the finished work, is not visible in the photography. In other words, this means that the eye was not painted until a much later stage of the production and indeed was painted in the surface layer of the painting. In essence, in the first stages of composition, Ai-Mitsu did not necessarily intend to depict a mysterious image that looks like an eye radiating piercing light in the midst of chaos, and rather the eye image emerged as he groped through the painting process. Dali influenced many of the painters of the day in Japan who had been taken by surrealism, and thus we can see paintings that include symbolic messages in their horizon line compositions. In those cases, the theme was determined before the painting process began, and then the composition was considered based on that theme. Once the image had been conceived, underdrawings were created and painting proceeded in a calculated fashion. By comparison, the groping painting method seen in Landscape with an Eye is quite special. Another example of this same painting method by Ai-Mitsu can be found in his Flower Garden (1940). The single butterfly that flies amidst the confused foliage in this work leaves a vivid impression. It has been recently confirmed that the butterfly did not appear in a picture postcard produced at the time of the painting’s display. In other words, Ai-Mitsu first proceeded with the depiction of the confused grasses and flowers, and at the end depicted the butterfly. If that is the case, then in the same way, just before finishing the Landscape with an Eye, it can easily be imagined that Ai-Mitsu struggled with the confused lump in the state of the landscape without the eye. Another noteworthy element of the production process of Landscape with an Eye is the collection of curved lines that can be seen in the lower pigment layers that seem to have emerged from amidst the pure gestures that surpassed the painter’s intentions. These curved lines are reminiscent of the lines in Max Ernst’s The Kiss (1927), although in Ernst’s case it seems as if images of people and other forms emerge from the accidental, while in Ai-Mitsu’s case the imagery cannot be easily identified. It would seem that in order to avoid explanatory depiction, he would destroy anything that seemed like it might emerge as a concrete image. In other words, the layering of pigment in order to grasp the sense of mass of an object, and the freely curving lines that seem to emerge from the painter’s own body rhythms, came to be layered on this single canvas. Therefore, in the end we cannot determine if this lump is a lion, or a lump of flesh or a tree stump. Ai-Mitsu may have been aiming at that state between meaning and meaningless, the state of being just unable to identify a concrete image. It is said that the Landscape with an Eye took more than two months to paint, and during that time he seems unable to have decided whether this misshapen lump of unknown form should have a concrete meaning, whether lion or tree stump, and he seized its existence alone in his hands, leaving it in the state of indeterminate form. This extremely unsettling sensation can be found in the climax of Sartre’s Nausea (1838). It recalls the scene where Roquentin is seated on a park bench,and feels nauseous as he looks at the roots of a chestnut tree. Since Ai-Mitsu did not know of Sartre, this comparison is nothing more than an arbitrary association. And yet, in the immediate post-war era Sartre’s existentialism gathered support from many cultured members of Japanese society, and there was a group of painters who sought to depict images of people who are aware that they have been hurled into the irrational world and exist in rivalry to it. The most important of these painters were Tsuruoka Masao and Asô Saburo who had formed the Shinjingakai with Ai-Mitsu during the war. In light of such facts, Ai-Mitsu’s Landscape with an Eye can be then seen as foreshadowing their postwar works. For example, Tsuruoka emphasized depicting objects rather than immaterial subjects, while Asô asserted, “I believe that realism is something whereby the power of the gaze and dissection are the same.” These comments by Tsuruoka and Asô from the postwar era can be seen to greatly overlap the production policy carried out by Ai-Mitsu in Landscape with an Eye. If, for that reason, we position Landscape with an Eye as a “Japanese Surrealist painting,” then we are in the dangerous position where its connection with the earnest search for realism that faced the reality of postwar society can tend to be overlooked. In that sense, I question whether or not it is good to consider Landscape with an Eye as a “Japanese Surrealist painting,” and I cannot easily answer that question in the affirmative. All the more so, this work stands out as an extreme example amidst the groping for realism thatsought to see reality as it is during the difficult era of the latter half of the 1930s, and the assertion that Tsuruoka and Asô continued the awareness of this issue means that this work can be considered to live on in history.

著者

杉山 儀

出版者

名古屋工業大学

巻号頁・発行日

2009-03-23

---

主査:足立 俊明

著者

荒船 俊太郎

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要 = The Bulletin of The National Institure of Japanese Literature Archival Studies (ISSN:18802249)

巻号頁・発行日

no.02, pp.27-65, 2006-03-27

---

本稿は、早大教授であった故深谷博治氏が所蔵していた史料群の整理作業における中間報告である。第一の課題は、その史料群構造と現在の保存環境に至るまでの来歴を明らかにすることである。第二は、更に一歩進めて記録史料学の立場より、研究が立ち遅れている「近代私文書論」の確立へ向け、ケーススタディーとして若干の提言を行おうとするものである。戦前、深谷氏は『明治天皇紀』編纂に深く関与し、宮内省臨時帝室編修局の編修官補として史料の調査収集、そして執筆に携わった。宮内省退官後も戦中期にかけて春畝公追頌会の『伊藤博文伝』編纂や旧貴族院五十年史編纂掛に所属し、主として史料収集と整理を行い、優れた著作を残した政治史研究者であった。「深谷文書」には、こうした国家事業と言うべき伝記編纂事業で生成された写本史料類が大量に残されている。深谷氏の研究履歴を通じ、かかる史料群の出所と作成年代を詳細に検討することで、現在我々が日常的に研究利用出来る文献史料がいかにして編集されたのかを垣間見ることが出来るだけでなく、戦前期宮内省の一側面や伝記編纂事業の性質をうかがう事が出来るのである。彼が関係した組織ごとに史料を階層化し目録上に配置することで、いかなる史料群構造が浮かび上がるかを重視したのはこのためである。もとより調査対象とした「深谷文書」は一私文書に過ぎず、そこで明らかとなる史料群構造が他の私文書群の性質と同一の普遍性を持つものではあり得ない。しかし研究手法は勿論のこと、事例研究すらほとんど蓄積のない近代私文書論について、記録史料学が今後どのように向き合い、乗り越えることでその地平を拓いて行くのだろうか。戦後60年を経た現在の私々には、行政文書のみならず私文書をめぐる管理保存・公開プロセスを検討し構築していく事もまた、喫緊の課題であることは論を俟たない。本稿がその議論を喚起する一助となれば幸いである。This is an interim report concerning an arrangement of the historical documents which were owned by the late FUKAYA Hiroharu, a former professor of Waseda University. The first subject is to clarify the structure of document groups and the process of its preservation up to now. The second one is, from the viewpoint of the archival theory, to intend to make some proposal showing a case study in order to establish the ''modem private document theory'' which has not been researched enough in Japan.In prewar days, Fukaya participated in the compilation of Meiji Tennoki (The Annuals of the Emperor Meiji) and investigated the historical materials as a staff of the Rinji Teishitsu Henshukyoku (the provisional imperial editorial office) in the Ministry of Imperial Household.He left some excellent works as a modern Japanese political history researcher. At the same time, he belonged to Shunpokou Tsuishokai (the editorial association of the biography of ITO Hirobumi). After he retired from the service, he belonged to Kizokuin Gojyunenshi Hensangakari (the editorial office of the 50th anniversary of the House of Peer) in the middle of the Second World War. His work was to collect historical materials and arrange them. In Fukaya Documents, we can find a number of transcribed historical materials produced in the compilation of these biographies as national projects. We can see how those historical documents we usually use were edited. Moreover, through Fukaya's career, we can see one aspect of the Ministry of Imperial Household in the prewar period and the character of these projects when we carefully examine where these documents came from and when they were made. That is why I would like to emphasize the structure of document groups, which appears by categorizing them in each organization he was related to and by arranging them on the lists.Of course, the structure of document groups is not universal one because Fukaya Documents is one of the private documents. However, I am interested in how the archives will correspond to the modern private document theory in the future as we have established neither case study nor research technique. Now that 60 years have passed since the war was over, it is our urgent subject to examine and establish how to manage, preserve and open to the public private documents as well as official documents. I hope this text will help to solve such problems.

出版者

オープンアクセスリポジトリ推進協会

雑誌

JPCOAR Newsletter: CoCOAR = JPCOAR Newsletter: CoCOAR

巻号頁・発行日

no.8, pp.1-11, 2019-09-03

著者

潘 秋実 冨平 準喜 手塚 太郎

雑誌

WebDB Forum 2019論文集

巻号頁・発行日

vol.2019, pp.25-28, 2019-09-01

---

eラーニングシステムは世界的に急速な普及を続けている.その学習ログに機械学習による推薦機能を加え,生徒の特性に合わせて最適な学習プログラムを提供するための様々な試みが近年活発に行われてきた.eラーニングにおいて機械学習が利用される代表的なタスクとして,生徒が次に解く問題の正解確率を予測する Knowledge Tracing (KT)がある.このタスクに対する手法としては現在,Bayesian Knowledge Tracing (BKT)と Deep Knowledge Tracing (DKT)が活発に研究されている.しかし既存の KT モデルとその実用的な利用の間にはギャップがあるのが現状である.DKT が抱える限界の一つは学習者が過去に学習した概念が現在に与える影響をうまく考慮できないことである.この問題に対処するため,本研究では encoder-decoder モデルを用いることでより適切に学習パスを予測する手法を提案する.これにより,生徒はeラーニングシステムにおいてより良い学習効果を得られるような問題を選択できるようになることが期待される.

著者

芋川 浩

雑誌

福岡県立大学看護学研究紀要 (ISSN:13488104)

巻号頁・発行日

vol.7, no.2, pp.34-39, 2010-03-31

---

近年高齢化社会を迎えつつある日本において,医療施設や介護施設以外での医療や介護を必要とすることは多くなりつつあるように思われる.その際,医療・介護施設での専門従事者が行う場合とは異なり,医療・介護と全く関係のない職種経験者が自宅などで自分自身もしくは家族により医療行為が行われることが必要となってくると思われる.特に,高度な医療技術が必要とされる場合のみ病院など専門施設での医療行為が行われ,比較的簡単なものは自宅などで専門職以外の人が簡易医療行為を行うというようなすみ分け的な分担もなされつつある.たとえば,簡易な血統測定やそれに伴う注射穿刺と前処理としてのエタノール綿による消毒(disinfection)などがその一例として挙げられよう。しかし,高齢者は免疫機能が衰えているため,通常では問題にならない細菌などに対しても十分な注意が必要な場合も多く,簡単な注射穿刺や怪我に対しても適切な消毒を施すことが必要である.現在,簡易の消毒として,70%エタノール綿がよく用いられているが,エタノールに過敏な方やアトピー性皮膚炎の患者のようにエタノールなど有機溶媒の使用に注意が必要な人も多く存在する.そこで,本研究では,高齢者でも比較的容易に手に入れられ,抵抗なく利用できる消毒剤の候補の検討をおこなった.その際,高齢者が自宅でも容易に行えることも重要な検討条件とし,本研究では,70%エタノール綿に代わるものとして,これまでに殺菌効果(microbiocidal efficacy)があると言われている「食酢」を検討することとした.各濃度の酢を準備し,各濃度での「食酢綿」の消毒効果(disinfectant efficacy)を70%エタノール綿の消毒効果と比較しながら検討した.その結果,「100%原液食酢綿」でも70%エタノール綿(98.9%)と同程度の消毒効果があることがわかった.食酢は食べることもできるものであり,スーパーなどでも簡単に手に入るうえ,薬などの使用に抵抗を示す高齢者にも受け入れやすいものであるため,在宅での日常および緊急の消毒に簡易に使われうる有用なものであると思われる.

著者

飯野 なみ 浜中 雅俊 西村 拓一 武田 英明

雑誌

研究報告音楽情報科学(MUS) (ISSN:21888752)

巻号頁・発行日

vol.2019-MUS-124, no.13, pp.1-6, 2019-08-20

---

楽器演奏において上級者のノウハウを抽出し体系化することは,効率的な弾き方や効果的な表現の実現に繋がる.我々はこれまで,多くの演奏技法が求められるクラシックギターに着目し,知識工学的アプローチによってギター奏法オントロジーを構築した.これは,クラシックギターの演奏技法を主概念として分類し,具体的な行為や手順を記述したものである.本研究では,ギター奏法オントロジーの概念を対象として,ギターコンクールで選曲率の高い楽曲における演奏技法の傾向や変遷を調査した.その結果,上級者から記譜情報の約 2 倍の演奏技法を抽出し,それらの使用方法や難しさについて知見を得ることができた.

著者

諏訪 正樹 西山 武繁 Suwa Masaki Nishiyama Takeshige

雑誌

SIG-SKL = SIG-SKL

巻号頁・発行日

vol.03, no.04, pp.19-24, 2009-01-09

---

アスリートが「自分の身体を考え,吟味する」ことの重要性は認識されていながら,それを促す方法論の研究は未成熟である.本発表では,身体を考える能力を身につけるためには何が必要か,能力を育成するためのコーチング法や支援環境としてどのような考え方が必要かなどの問いを考察する.

著者

安保 寛尚

雑誌

摂大人文科学 = The Setsudai Review of Humanities and Social Sciences (ISSN:13419315)

巻号頁・発行日

no.21, pp.107-142, 2014-01

---

キューバでは1886 年に奴隷制が廃止され、1902 年の独立後、法的には国民の平等が達成されたが、黒人は変わらず人種差別を受け続けていた。ニコラス・ギジェンの『ソンゴロ・コソンゴ』は、白人の価値観が支配するそのような社会において、実際には黒人の要素が深く混ざり合っており、キューバの精神は混血、すなわち「ムラート」であるという考えを提起する革命的な詩集であった。そしてそのような思想が最も反映されているのが≪到着≫である。これまでの先行研究において、この詩はアフリカ人のキューバへの到着と見なされ、時に白人に対する黒人の勝利を歌うものという解釈がされてきた。しかしながら、この詩の背景に見えるのは大西洋を渡ってキューバに至る航海ではなく、山から都市への下山である。また、キューバの向かうべき将来に人種的統合を見据えるギジェンが、人種主義に対する人種主義を訴えているとは考えにくい。そこで本稿は、キューバの山/森が持つ歴史的・文化的象徴性に注目する。そこはかつてスペイン人に抵抗する逃亡奴隷が集落を形成した場所であり、現在も黒人にとってアフリカとの交信が可能になる聖域である。すなわち到着者には、アフリカの遺産を受け継ぐ逃亡奴隷の姿が見えてくるのだ。こうして浮かび上がるアフリカとキューバを結ぶ想像の地図の分析を通して、新しい「混血」の共同体形成を提起するギジェンの詩的プロジェクトを明らかにする。

著者

嶋内 麻佐子 Masako SHIMAUCHI

出版者

長崎国際大学

雑誌

長崎国際大学論叢 = Nagasaki International University Review (ISSN:13464094)

巻号頁・発行日

vol.1, pp.131-141, 2001-03

---

利休歿後、利休の弟子七人衆の一人である古田織部により、その茶が継承された。織部は武将の茶としての展開を遂げ、茶室・茶の形態・露地・懐石・点前に至るまで、武家相応の茶の湯に置き換えることにより、利休の身分平等性を主とする作法やその技法、精神性からの脱皮を計ることに成功したと言える。 しかし、その事で草庵における茶の形態だけは、守られたと思われる。そのことは、町人的作法から生まれた利休の茶を改良し、かつての貴族時代に生まれた文化と、武家故実に基づく文化を合流させた慶長年間の武家相応の茶の湯が、織部によって出来上がったと言えるのではないだろうか。

著者

吉田 達矢

出版者

名古屋学院大学総合研究所

雑誌

名古屋学院大学論集 人文・自然科学篇 = THE NAGOYA GAKUIN DAIGAKU RONSHU; Journal of Nagoya Gakuin University; HUMANITIES and NATURAL SCIENCES (ISSN:03850056)

巻号頁・発行日

vol.56, no.1, pp.15-29, 2019-07-31

---

本稿では,明治時代(1868~1912年)に名古屋を訪れた外国人19人の日記・旅行記などの史料から,彼らが当時の名古屋をどのように見ていたのか,どのように滞在し,名古屋の何に注目したのか,などの問題について考察した。まず滞在日数に関しては,個々人によって異なり,特定の傾向は見出せなかった。宿泊場所は,秋琴楼・支那忠・名古屋ホテルがよく利用された。訪問場所としては,名古屋城を見学したあるいは何らかの言及をしたのは19人中14人であったことから,明治時代の名古屋では名古屋城が外国人にとって一番の観光場所であったと推測される。名古屋の特産品として認識されていたのは,陶磁器(七宝焼)や扇(子)などであった。名古屋に対するイメージとしては,明治半ばころから「近代的な産業・工業都市」として徐々に認識されるようになり,名古屋の人たちに対する印象は概ね好意的であったといえる。

著者

村木 二郎

出版者

国立歴史民俗博物館

雑誌

国立歴史民俗博物館研究報告 = Bulletin of the National Museum of Japanese History (ISSN:02867400)

巻号頁・発行日

vol.108, pp.165-190, 2003-10-31

---

12~13世紀に,経塚は全国各地で造営された。特に,平安京を中心とした近畿と,大宰府を中心とした九州北部が2大中心地であったため,これまでの研究も西日本の経塚が対象となることが多かった。しかし,ここ数年東日本の経塚調査例も増えてきている。そこで本稿では東日本の経塚のなかで,銅製経筒や土製・石製の専用経筒・外容器を出土した経塚を対象に,地域的な傾向をみていく。経塚は地域色の強い遺跡であるため,個々の資料を詳しく検討する際にはどうしても特殊性が目立ってしまう。そのため本稿では巨視的な立場で東日本の経塚を概観することにより,今後の研究における基礎作業をおこなうことが狙いである。手法として,まず銅製経筒を近畿系の経筒と,製作技法の異なる一鋳式経筒に分類し,その分布地域を押さえる。次に,外容器を珠洲系,東海系,石製などに分け,これらの分布圏も同様にみていく。また,経筒を埋納するにあたって外容器を用いる場合や石室を造る場合がある。出土状況が明らかな例が増えてきたため,こういった情報をもとに埋納法にもとづいた分類も加えた。これらの作業により,日本海側と太平洋側の違い,関東の独自性などが明確に現われる。それらをもとに,東日本の経塚は,陸奥,出羽,関東,中部高地・静岡東部,東海西部,加越,嶺南の7地域に区分することができた。

著者

越川 葉子

雑誌

立教大学教育学科研究年報

巻号頁・発行日

vol.58, pp.222, 2015-02-28

著者

荒井裕介 大津金光 大川猛 横田隆史 馬場敬信

雑誌

第75回全国大会講演論文集

巻号頁・発行日

vol.2013, no.1, pp.219-220, 2013-03-06

---

Androidは,スマートフォン用OSとしては日本およびアメリカでトップシェアを誇っており,1人が1台のAndroid端末を所持していると言っても過言ではない.またAndroid端末は,Wi-FiやBluetoothといった無線通信手段を持っており,これらの通信手段を利用することで複数の端末間での相互通信が可能である.このような端末間での相互通信を利用することでクラスタ計算機としてのシステムを実現することができ,多くの端末が集まるような機会を利用して大規模な演算を行うことが可能となる.本稿では,ネットワークによって相互に接続された複数のAndroid端末を使用したクラスタ計算機システムの概要とその構築について述べる.

著者

永谷 稔

出版者

北翔大学

雑誌

北海道女子大学短期大学部研究紀要 = Bulletin of Hokkaido Women's College (ISSN:02890518)

巻号頁・発行日

vol.35, pp.105-113, 1998

著者

山川 亜寿花 山本 隆宣

出版者

帝塚山大学

雑誌

帝塚山大学心理福祉学部紀要 = Tezukayama University bulletin of psychology and welfare (ISSN:13497774)

巻号頁・発行日

vol.6, pp.179-184, 2010