著者
佐藤 直樹
出版者
19世紀学学会
雑誌
19世紀学研究 (ISSN:18827578)
巻号頁・発行日
no.8, pp.77-97, 2014-03

In the 19th century there were many colonies of foreign artists in Rome, but we have limited documents about their international exchanges. The purpose of this article is to find some traces of visual cross-references between international artists there, analyzing especially the works by a German landscape painter, Johann Christian Reinhart. At his time, Rome was occupied by Napoleon and the French Academy had established a branch school at the Villa Medici in the center of Rome. In spite of the French rule, not only political but also cultural, the overall majority of the artists operating in Rome was German. Reinhart, the leading figure of the German artists, had rediscovered Tivoli, Castelli Romani and some picturesque areas around Rome, of which he likely got information from French artists in Rome. With these new subjects he created a realistic and heroic engraving series titled "Mahlerisch-radierten Prospecte aus Italien" (1792-99). The series inspired international young artists to go sketching in the surroundings of Rome, and it was originally planned by Reinhart as a collaboration with two French artists whose names are not mentioned in any of his letters, because he recognized that the French had advanced in the outdoor painting and he wished to learn its realistic representation. In the end he could not work together with them, but he developed his picturesque engravings in his own new style. Reinhart painted "Four Views from Villa Malta" (1831-35) in tempera for King Ludwig I. of Bavaria. Villa Malta was the king's residence in Rome and he wanted to bring the unforgettable city views as large paintings back to Munich. Reinhart's challenge was to reproduce a precise panorama, the so-called Veduta. For these panoramic views he might have used a new optical instrument, the Camera Lucida, which had been invented in England in 1786 and was used by British landscape painters for tracing the reflected scene through a prism. I suppose that Reinhart had gained the information about this tool from his artistic milieu, for example the French engraver Noël-François Bertrand and the British painter Samuel Bellin, who were also active in Rome in the same period. The similarity of their optic angles cannot be imagined without them using the instrument. My research has just started, therefore I would like to study further the possibility of the three artists having shared the Camera Lucida in Rome.
著者
永田 勝也 納富 信 小野田 弘士 日比野 壮 秦 健宏 小野田 哲也 愛澤 政仁
出版者
一般社団法人 日本機械学会
雑誌
環境工学総合シンポジウム講演論文集
巻号頁・発行日
vol.2004, pp.447-450, 2004

In recent years global environmental problems become aggravated, the shift to the sustainable society is required. The quantitative environmental load assessment is necessary to achieve the sustainable society. Though various LCA (Life Cycle Assessment) method is developed for such a demand, it is pointed out that there are a lot of problems in existing LCA. To solve such problems, Eco-Efficiency Potential Assessment (E2-PA) was developed. In this paper, we study on Hazardous Intensity (HI). HI is Materials and Energy for taking hazardous substances into harmless as Potential, but the process for taking hazardous substances into harmless is not decided. So in this research HI is alternated by two methods (Method 1: alternate by the intensity for virgin resources. Method 2: alternate by the ratio of hazardous factor to the standard substance). Then we show the products' assessment result by using alternated HI, and compares it with other LCA. As a result, validity as the potential evaluation of E2-PA is shown.
著者
浦野 起央
出版者
日本大学
雑誌
政経研究 (ISSN:02874903)
巻号頁・発行日
vol.50, no.1, pp.69-106, 2013-06
著者
宮下 淳
出版者
静岡県立大学経営情報学部
雑誌
経営と情報 : 静岡県立大学・経営情報学部/学報 (ISSN:09188215)
巻号頁・発行日
vol.10, no.2, pp.1-16, 1998-06-01

Japanese large manufacturers are shifting their production bases overseas. Consequently the small manufacturers must change the way that they should be; from the individual subcontract firm to the innovational firm which have new relations with the management and production systems. In Addition the cooperative organizations of the samll manufacturers must cahnge their strategy and method of operations. As that ground this paper is intended as an investigation of the history of Japanese cooperative organizations of the small manufacturers and the movement in recent years. What I wish to show in this paper is the ultimate goal of network management in that organaizations will be provid an adequate quality of network service and network adaptability to changing technology and menber's needs.
著者
宮下 淳
出版者
静岡県立大学経営情報学部
雑誌
経営と情報 : 静岡県立大学・経営情報学部/学報 (ISSN:09188215)
巻号頁・発行日
vol.11, no.2, pp.19-31, 1999-04-01

The autochthonic industry is in its declining stage in today's rapidly chaging business environment. The appreciation of the yen has certainly led to increase in imports. In adition the production facilities are moving overseas. This process will increase the possibility of the holling out of the autochthonic industry. What challenges does the autochthonic industry face as it tries to have the significance of the social existence. Of cource, it should try to realize the modern management in its production and marketing. But real issue is how to do, not what it. It seems reasonable to conclude: the organization of autochthonic industry should have the new core of organization for innovation of the former state of characteristic and so its core realizes the collaboration by using information technology and netowork.
著者
中島 隼人 今井 良行 笠原 清司 久保 真治 小貫 薫
出版者
The Society of Chemical Engineers, Japan
雑誌
化学工学論文集 (ISSN:0386216X)
巻号頁・発行日
vol.33, no.3, pp.257-260, 2007-05-20
被引用文献数
1 5

熱化学水素製造法ISプロセスの要素反応であるヨウ素と水の混合系への二酸化硫黄ガス吸収反応について,323 K,ヨウ素飽和条件で,二酸化硫黄分圧の影響を調べた.定圧二酸化硫黄ガス存在下,2相分離(硫酸相とポリヨウ化水素酸相),擬似平衡状態への到達が観察され,同状態におけるポリヨウ化水素酸に対してブンゼン反応の逆反応による理想的脱硫操作を行って得られる溶液の酸濃度(HI/(HI+H<sub>2</sub>O))は,高二酸化硫黄分圧の元で高く,最大15.7±0.3 mol%に達した.
著者
独立行政法人科学技術振興機構
出版者
国立研究開発法人 科学技術振興機構
雑誌
JSTnews (ISSN:13496085)
巻号頁・発行日
vol.2, no.7, pp.4-7, 2005

<p>雨の中、「君が…アトム君だね」との問いに、フード付きレインコートの男の子が顔を上げる。そのつくりも表情も人間の少年そのもの。漫画家・浦沢直樹氏が『鉄腕アトム/地上最大のロボット』のリメイク版『プルートウ』で描く世界は、大胆な写実性ゆえにロボットについて改めて考えさせる。「隣の人はロボット?」という日が来るのかと…。</p>