著者

武智 英裕 石渡 俊一

出版者

一般社団法人 日本体育学会

雑誌

体育学研究

巻号頁・発行日

vol.10, no.2, 1966

著者

足立 重和

出版者

社会学研究会

雑誌

ソシオロジ (ISSN:05841380)

巻号頁・発行日

vol.62, no.3, pp.73-82, 2018-02-01 (Released:2021-06-04)

著者

多々良 泉 辻 聡宏 御厨 初子 田中 政信 劉 蚊艶 小島 孝之 太田 英明

出版者

Japan Association of Food Preservation Scientists

雑誌

日本食品保蔵科学会誌 (ISSN:13441213)

巻号頁・発行日

vol.25, no.1, pp.15-20, 1999-01-30 (Released:2011-05-20)

参考文献数

13

被引用文献数

8 4

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遠隔地からのイチゴは輸送振動による品質低下が指摘されている。そこで, 実輸送中に発生する振動を測定し, その振動がイチゴの呼吸速度および品質に及ぼす影響について検討した。振動を与える前のイチゴの呼吸速度 (CO2排出量) は5℃下で約30mg/kg/hr, 15℃下で約70mg/kg/hrであったが, 振動を与えるとそれぞれ50および84mg/kg/hrまで上昇した。また, 振動を止めると呼吸速度は減少し, 約1時間後には振動前とほぼ同等の値まで低下した。振動を与えたイチゴの外観品質は, 振動を与えなかったものより評点は低かった。また, 貯蔵温度の影響も大きく5℃で保持した方が15℃保持より評点は高かった。果皮の貫入抵抗値は振動を与えたイチゴの方が振動を与えなかったものより低く, 貯蔵温度では5℃のほうが15℃より高い値を示した。可溶性固形分, 滴定酸度及び全ビタミンC含量の内容成分は振動の有無, 貯蔵温度による差異は認められなかった。

著者

甘露 純規

出版者

中京大学図書館

雑誌

中京大学図書館学紀要 (ISSN:03890120)

巻号頁・発行日

no.31, pp.33-79, 2010

著者

多田羅 康恵 B. B. モフラン 吉永 早苗 芳賀 均

出版者

日本音楽教育学会

雑誌

音楽教育学 (ISSN:02896907)

巻号頁・発行日

vol.49, no.2, pp.51-52, 2020

著者

石田 淳

出版者

日本政治学会

雑誌

年報政治学 (ISSN:05494192)

巻号頁・発行日

vol.62, no.1, pp.1_113-1_132, 2011 (Released:2016-02-24)

参考文献数

47

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The UN General Assembly's “Declaration on the Granting of Independence to Colonial Countries and Peoples” in 1960 rejected the imposed international standard of domestic governance. But the recent wave of responsibility to protect and transitional justice (including the establishment of International Criminal Tribunal for the Former Yugoslavia, International Criminal Tribunal for Rwanda, and International Criminal Court) resurrected the practice which the international society of sovereign states abandoned half a century ago. A variety of atrocities are now considered to be crimes of international concern so that the state, in which they take place, is held responsible to protect their victims and prosecute their perpetrators while the international society is prepared to intervene if it fails to do so.   Realists would argue that this combination of protection of the weak and prosecution of the strong deprive the latter of their incentives to make political compromises at the table of international or domestic bargaining, and as a result impede “negotiated settlement” and “negotiated transition.” The primary purpose of this article is to examine and question the validity of this realist claim.

著者

佐藤 多美夫

出版者

駒澤大学北海道教養部

雑誌

北海道駒沢大学研究紀要 (ISSN:02866978)

巻号頁・発行日

no.11, pp.p43-62, 1976-02

著者

武田 寿恵

出版者

アメリカ学会

雑誌

アメリカ研究 (ISSN:03872815)

巻号頁・発行日

vol.55, pp.121-139, 2021

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<p>Julie Taymor's production of <i>The Lion King</i>, for which she would become the first woman to win a Tony for Best Direction of a Musical, opened at Broadway's New Amsterdam Theatre in 1997. To recreate this story of savannah animals on the stage, Taymor devised a method that she called "the double event," in which each character was simultaneously expressed by an actor's body and an animal mask or puppet. Because the actors' faces were not hidden from the audience by the masks, their skin colors were closely associated with the characters they portrayed. Skin color is a racial characteristic that is easy to identify visually. As Stephanie Leigh Batiste has pointed out, in her book <i>Darkening Mirrors</i>(2011), the skin color of African-American actors becomes part of their performance, especially in the theater. Recognizing this, Taymor deliberately cast African and Black actors, using "color-conscious casting," which consciously incorporates actors' racial characteristics as production elements. By presenting the "color" of African actors to audiences in this way, she embodied an important theme of the musical: "the power of Africa."</p><p>By contrast, the "color" of the white actors was rendered indistinguishable through facial makeup. This paper pays particular attention to the villain Scar, who is typically played by a white actor. Just as in the film on which the musical was based, Scar was the only lion who spoke with a British accent. He was depicted as a "white presence" with a stereotypical Shakespearean actor's performance style and mannerisms. In his book <i>The Great White Way</i>(2014), Warren Hoffman has argued that the "white people" who appear in most Broadway musicals are positioned as a raceless norm that cannot engender racial problems. By using makeup to paint Scar, the "white presence," brown, Taymor made it impossible for audiences to interpret Scar as a "white person."</p><p>This paper refers to the three-layered structure assigned to <i>The Lion King'</i>s white actors—actor body, animal mask, and artificial color—as "the triple event." In doing so, it demonstrates how skillfully obscuring the color of white actors can effectively force "color-blind casting." By deliberately combining color-conscious casting for Black actors with forced color-blind casting for white actors, Taymor created a phenomenon that can reasonably be considered a form of "reverse racism," as described by Anne Nicholson Weber in <i>Upstaged: Making Theatre in the Media Age</i>(2006) In disguising the color of white actors, the triple event became a pioneering staging method, serving to overturn the racial privilege of white actors.</p>

著者

石川 捷治

出版者

日本政治学会

雑誌

日本政治學會年報政治學 (ISSN:05494192)

巻号頁・発行日

vol.54, pp.161-177, 2003

著者

神村 学

出版者

社団法人 日本蚕糸学会

雑誌

蚕糸・昆虫バイオテック (ISSN:18810551)

巻号頁・発行日

vol.84, no.2, pp.2_097-2_098, 2015 (Released:2017-10-09)

参考文献数

6

著者

川村 明日香 Kawamura Asuka カワムラ アスカ

出版者

大阪大学言語文化学会

雑誌

大阪大学言語文化学 = Journal of language and culture (ISSN:09181504)

巻号頁・発行日

vol.27, pp.55-68, 2018

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The story of the Broadway musical The Lion King is set in a fictional country in Africa. This image is a fantasy; however, audiences feel the reality of Africa represented in it. The present study is undertaken to reveal the mechanisms employed in making the fantasy seem Africa-like. If we regard the whole musical The Lion King as a text, the advertisements and pamphlets included in the production can be defined as paratexts which surround the main text and influence the readers' understanding of the main text. The main text can be classified into two parts; the story and the expression. In the storyline, the only things to make us imagine Africa are the main characters who are African animals. However, in the expression, we can find many things that suggest Africa, for example, the sound of African languages in songs and dialogue, the make-up inspired by African tradition, and the clothing's patterns and colors. These things create a synergy that makes us feel that the stage is an African-like space. However, most of the audience does not know which African language is spoken, and which African tradition is applied to the stage design. Further, although after the translation from English into Japanese the African images of the main text were almost unchanged, there is a substantial difference between the pamphlet of the Broadway production and that of the Japanese production. The former has explanations about the African cultures that are applied to the stage design, makeup, and costumes. In the Broadway production, the pamphlet writer insists that African images in The Lion King have roots to the real Africa. The latter mentions that the Japanese production of The Lion King promotes friendship between Japan and South Africa, but there is not much information about African culture. In the Japanese pamphlet, Africa is presented as a "vast" place with "unique" percussion instruments, and the phrase "a language unfamiliar to audiences" is used to describe as "the African language," Zulu. Thus, many in the Japanese audience imagie Africa as an entity that has a single "African culture." Therefore, at each level of the storyline, the expression and the paratexts different African images are represented. Moreover, in the paratexts, African images in The Lion King are affected by the translation from English to Japanese.

著者

吉岡 照高

出版者

農研機構果樹茶業研究部門

巻号頁・発行日

no.1, pp.37-45, 2017 (Released:2019-01-22)

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1. カンキツ口之津39号は1974年に晩生のマンダリン‘アンコール’に早生温州‘興津早生’を交雑して育成され,個体番号はEnOW-2である。2001年よりカンキツ第9回系統適応性・特性検定試験にカンキツ口之津39号として供試された。その結果,普及性が低いと判断され,2009年をもって試験中止となった。2. 育成地の調査では,樹姿は直立性で樹勢は中程度で,刺の発生はほとんどない。葉の大きさは‘興津早生’や‘アンコール’より大きい。花弁は白色,5枚で,葯退化により花粉を形成しない。3. 果実の形は扁平で,‘アンコール’に似てへそを形成することがある。果実の重さは110g程度,果皮は濃橙色で比較的滑らかである。果汁の糖度は12月上旬で,11.1%,酸含量は0.85g/100mlで,成熟期は1月と考えられる。種子はほとんどなく,多胚性である。4. 系統適応性検定試験の評価では,果実は125g程度で,果皮の厚さは平均2.0mmで,剥皮性は比較的良い。また,じょうのう膜の硬さは比較的軟かく,肉質は硬い傾向である。果実の成熟期は1月中下旬とする試験地が多く,糖度は平均12.9%,酸含量は1.00g/100mlとなる。浮皮の発生はほとんどないが,一部の試験地で裂果の発生が多くみられた。年によりかいよう病がみられる。果肉がやや硬く,特徴的な食感をもつが,裂果の発生および収量性が高くないという理由から試験中止が妥当と判断された。

著者

河島太朗

出版者

国立国会図書館

雑誌

外国の立法 : 立法情報・翻訳・解説 (ISSN:13492071)

巻号頁・発行日

no.250, 2011-12

著者

田中嘉彦

出版者

国立国会図書館

雑誌

レファレンス (ISSN:1349208X)

巻号頁・発行日

no.825, 2019-10

出版者

東京市臨時市域擴張部

巻号頁・発行日

1931

著者

東京府荏原郡松沢村 編

出版者

松沢村

巻号頁・発行日

1932

出版者

東京市臨時市域擴張部

巻号頁・発行日

1931

出版者

東京市臨時市域擴張部

巻号頁・発行日

1931

出版者

東京市臨時市域擴張部

巻号頁・発行日

1931

出版者

東京市臨時市域擴張部

巻号頁・発行日

1931