著者

西岡 芳文

出版者

神奈川県立金沢文庫

雑誌

金沢文庫研究 (ISSN:04531949)

巻号頁・発行日

no.318, pp.11-21, 2007-03

著者

新井 勉

出版者

日本大学

雑誌

日本法學 (ISSN:02874601)

巻号頁・発行日

vol.78, no.1, pp.1-27, 2012-06-30

著者

居村 茂幸 神沢 信行 八木 範彦 三木 晃 小室 透

出版者

公益社団法人日本理学療法士協会

雑誌

理学療法学 (ISSN:02893770)

巻号頁・発行日

vol.18, no.2, pp.160-165, 1991-03-10

著者

高橋 翠

出版者

一般社団法人電子情報通信学会

雑誌

電子情報通信学会技術研究報告. HCS, ヒューマンコミュニケーション基礎 (ISSN:09135685)

巻号頁・発行日

vol.111, no.214, pp.27-31, 2011-09-16

---

本研究では、進化心理学的観点から男性の顔に対する魅力評価を検討した。先行研究では、社会的手がかり(視線方向と表情)と「男らしさ」として知覚される形態的特徴は、それぞれ魅力に影響を与える要因であることが指摘されるが、それに加えて、魅力に対して相互作用効果をもつことが指摘されている。そこで本研究では、進化心理学的観点から、男性顔の魅力評価における社会的手がかりと「男らしさ」の相互作用効果を規定すると考えられる、女性評定者側の要因(パートナーの有無)に着目し、魅力評価との関連性を検討した。その結果、仮説と整合的な結果が得られ、パートナーの有無という女性評定者側の要因は、男性顔の魅力評価における社会的手がかりと「男らしさ」の相互作用効果のあり様を規定する要因である可能性が示唆された。

著者

大野 久雄 鈴木 修 韮澤 浩 吉崎 正憲 長谷川 直之 田中 芳男 村松 良夫 小倉 義光

出版者

社団法人日本気象学会

雑誌

気象集誌 (ISSN:00261165)

巻号頁・発行日

vol.72, no.2, pp.197-222, 1994-04-25

被引用文献数

13

---

太平洋高気圧の北辺に位置する岡山地方で1991年6月27日午後発生した雷雨嵐は同地方に激しい雨や雷および強い突風をもたらせた。中でも岡山市の北東部で発生した突風は特に強く、単体では51m/sの風に耐えられるコンクリート製電柱18本を倒壊させた。この研究は、電柱の倒壊をもたらせた突風の原因を調べるために始められた。利用可能なすべてのデータが集められ、解析された。データ源は、通常レーダー、気象庁のシステム、密に展開された自治体の大気汚染監視用風向風速計、民間航空機、テレビ局のビデオ画像、被害調査結果等と多岐にわたった。これらを複合利用してメソ解析を行った結果、少なくとも4つのダウンバースト(マイクロバーストとマクロバーストの両方)の発生が明らかになった。電柱を倒壊させたのはそのうちの1つで、雷を伴っていた。当時大気成層は、湿マイクロバーストを発生させるのに適したもので、Atkins and Wakimoto(1991)が報告した米国北アラバマの事例と類似していた。また、ダウンバースト発生の潜在的危険性が太平洋高気圧の北辺にあるとの指摘がなされた。

著者

横田 成年

出版者

公益社団法人日本船舶海洋工学会

雑誌

造船協會會報 (ISSN:05148499)

巻号頁・発行日

no.37, pp.15-20, 1925-10

著者

浦久 保五郎

出版者

公益社団法人日本薬学会

雑誌

公衆衛生年報

巻号頁・発行日

vol.2, no.1, pp.5-10, 1954-11-20

著者

近藤 敦

出版者

名城大学法学会

雑誌

名城法学 (ISSN:04616898)

巻号頁・発行日

vol.64, no.4, pp.1-34, 2015

著者

山田 忠彰

出版者

日本女子大学

雑誌

日本女子大学紀要. 人間社会学部 (ISSN:09172076)

巻号頁・発行日

vol.17, pp.201-214, 2006

著者

今橋 理子

出版者

東海大学

雑誌

東海大学紀要. 文学部 (ISSN:05636760)

巻号頁・発行日

vol.66, pp.35-49, 1996

---

Among the paintings left by Sakai Hoitsu (1760-1828), a late-Edo-period painter known for reviving the Rinpa (or Korin) school of painting in the city of Edo, is a singular work entitled Kannon (i.e., the bodhisattva Avalokitesvara). This work differs from the usual Oriental "white-robed Avalokitesvara" paintings in that Kannon is not shown holding in her hand either the standard lotus flower, or sprig of willow in a water jar. Rather, in front of her and to the viewer's right there appears a porcelain celadon vase in which five summer flowers - hollyhocks, pinks, lychnises, hydrangeas, and lilies - have been arranged. In contrast to india ink paintings of Kannon, the flowers in Hoitsu's work are richly colored, attracting and holding the viewer's gaze. It is known that the creation of Kannon was connected to the hundredth anniversary of the death of Ogata Korin (1658-1716). Korin was the prime mover behind the earlier flourishing of the Rinpa school and the painter most highly regarded by Hoitsu, who donated the work to Korin's family temple, Myoken-ji, in Kyoto, where it remains today. It has therefore traditionally been inferred that Hoitsu "arranged" the flowers in the vase in commemoration of Korin's death anniversary and that he used summer flowers because Korin died in June. What has never been clear, however, is why the five flowers noted above were chosen ; indeed, Hoitsu's Flowers in a Vase, painted for the same anniversary, contains the identical five kinds of flowers arranged in a water jar. Hoitsu obviously had a reason for selecting them. In my paper, I will attempt to discern what Hoitsu's intended meaning may have been. The particular flower or bird, or the particular combination of flowers and birds, found in an Oriental flower-and-bird painting ordinarily has an auspicious meaning associated with it, one that the members of the painter's audience will usually be able to identify owing to their shared cultural experience. No traditional, specific meaning, however, can be discerned in the combination of the five summer flowers in Hoitsu's two paintings. To unlock the meaning, I have investigated how the five flowers have been used in classical tanka and haiku poetry - in which Hoitsu himself was unusually well versed - beginning with the eighth-century Man'yoshu. For example, the combination of hollyhocks and lilies has traditionally meant, "We will meet in the next world" when it appears in classical poetry. I found other meanings for other groupings of the five flowers in question. In the course of my research it became clear that Hoitsu clearly did not use the five flowers merely to commemorate Korin's death in the summer ; being familliar with Japanese history and literature, Hoitsu put together his combination with scruplous care in order to express the meaning he desired. Another point of interest is that Korin was particularly fond of the hollyhock and, in fact, replaced his family crest with one depicting a stylized version of this flower. This helps explain why, in Hoitsu's two paintings, the hollyhock is placed highest in the shin position, the all-important central position in traditional flower arrangement. Modern critics tend to view the beautiful flower arrangements in the paintings of the Rinpa school, including the two works discussed here, as random combinations. This evaluation focuses on the beauty of the paintings' form, but essentially denies their interpretive value. However, I believe that the surprising hidden meanings woven into the paintings of the Rinpa school are one of the greatest sources of the paintings' appeal.

著者

今橋 理子

出版者

東海大学

雑誌

東海大学紀要. 文学部 (ISSN:05636760)

巻号頁・発行日

vol.66, pp.35-49, 1996

---

Among the paintings left by Sakai Hoitsu (1760-1828), a late-Edo-period painter known for reviving the Rinpa (or Korin) school of painting in the city of Edo, is a singular work entitled Kannon (i.e., the bodhisattva Avalokitesvara). This work differs from the usual Oriental "white-robed Avalokitesvara" paintings in that Kannon is not shown holding in her hand either the standard lotus flower, or sprig of willow in a water jar. Rather, in front of her and to the viewer's right there appears a porcelain celadon vase in which five summer flowers - hollyhocks, pinks, lychnises, hydrangeas, and lilies - have been arranged. In contrast to india ink paintings of Kannon, the flowers in Hoitsu's work are richly colored, attracting and holding the viewer's gaze. It is known that the creation of Kannon was connected to the hundredth anniversary of the death of Ogata Korin (1658-1716). Korin was the prime mover behind the earlier flourishing of the Rinpa school and the painter most highly regarded by Hoitsu, who donated the work to Korin's family temple, Myoken-ji, in Kyoto, where it remains today. It has therefore traditionally been inferred that Hoitsu "arranged" the flowers in the vase in commemoration of Korin's death anniversary and that he used summer flowers because Korin died in June. What has never been clear, however, is why the five flowers noted above were chosen ; indeed, Hoitsu's Flowers in a Vase, painted for the same anniversary, contains the identical five kinds of flowers arranged in a water jar. Hoitsu obviously had a reason for selecting them. In my paper, I will attempt to discern what Hoitsu's intended meaning may have been. The particular flower or bird, or the particular combination of flowers and birds, found in an Oriental flower-and-bird painting ordinarily has an auspicious meaning associated with it, one that the members of the painter's audience will usually be able to identify owing to their shared cultural experience. No traditional, specific meaning, however, can be discerned in the combination of the five summer flowers in Hoitsu's two paintings. To unlock the meaning, I have investigated how the five flowers have been used in classical tanka and haiku poetry - in which Hoitsu himself was unusually well versed - beginning with the eighth-century Man'yoshu. For example, the combination of hollyhocks and lilies has traditionally meant, "We will meet in the next world" when it appears in classical poetry. I found other meanings for other groupings of the five flowers in question. In the course of my research it became clear that Hoitsu clearly did not use the five flowers merely to commemorate Korin's death in the summer ; being familliar with Japanese history and literature, Hoitsu put together his combination with scruplous care in order to express the meaning he desired. Another point of interest is that Korin was particularly fond of the hollyhock and, in fact, replaced his family crest with one depicting a stylized version of this flower. This helps explain why, in Hoitsu's two paintings, the hollyhock is placed highest in the shin position, the all-important central position in traditional flower arrangement. Modern critics tend to view the beautiful flower arrangements in the paintings of the Rinpa school, including the two works discussed here, as random combinations. This evaluation focuses on the beauty of the paintings' form, but essentially denies their interpretive value. However, I believe that the surprising hidden meanings woven into the paintings of the Rinpa school are one of the greatest sources of the paintings' appeal.

著者

宮治 弘明

出版者

一般社団法人日本建築学会

雑誌

建築雑誌 (ISSN:00038555)

巻号頁・発行日

vol.105, no.1301, pp.14-15, 1990-07-20

著者

姚 継中

出版者

山口大学大学院東アジア研究科

雑誌

東アジア研究 (ISSN:13479415)

巻号頁・発行日

no.13, pp.287-302, 2015-03

---

中国に於いて,今まで『源氏物語』に関する翻訳検証研究を厳格に行った学者は殆ど居ない. その原因を探ってみると,二つある. 一つは,功利性を求めるあまりに日中両言語の対比論証に分け入らず,翻訳者を大雑把に評価し,翻訳作品に少し目を通しただけで批評を済ませてしまうからである. 二つ目は,『源氏物語』の翻訳検証研究の難易度が高く,研究期間も長期に及ぶからである. 本稿では,『源氏物語』に関する翻訳検証を目的とし,特に『源氏物語』における和歌の翻訳を例としながら,(1)翻訳理論と翻訳実践のパラドックス;(2)翻訳検証研究の学術性とリスク;(3)『源氏物語』和歌翻訳のジレンマ;(4)豊子愷,林文月,姚継中,各氏の翻訳した和歌の比較検証といった四つの面から,『源氏物語』に関する翻訳検証研究の必要性及び実行可能性を論述する. 『源氏物語』の翻訳者として,作者の創作意図と作品の趣きを十全に翻訳しようと努めるのは,当たり前のことのように思われるが,翻訳のプロセスは,実にさまざまな条件によって制約を受けてもいる. 特に和歌の翻訳は,ただ単に「言語→表象→意味」を理解した後に,「意味→表象→言語」へと変換すればよいというものではなく,言語認知,文学認知,文化認知及び言語表現,文学表現,文化表現などを含む複雑なプロセスを介するのである. それゆえ,いくら優れた翻訳者であっても,和歌の翻訳で「信,達,雅」に到達することは非常に難しい. しかし,だからといって我々は「信,達,雅」に到達することを諦めるわけにはいかない. 「信,達,雅」への到達を前提条件としつつ,『源氏物語』にある和歌の翻訳を検証し,その研究成果を学術界に問うというのが本稿の姿勢である.

著者

青谷 秀紀

出版者

西洋中世学会

雑誌

西洋中世研究

巻号頁・発行日

no.2, pp.36-49, 2010

著者

藤倉 恵一

出版者

日本図書館協会

雑誌

現代の図書館 (ISSN:00166332)

巻号頁・発行日

vol.48, no.4, pp.217-223, 2010-12

著者

豊田 治視 石川 俊夫 植村 典昭 岡田 泰士

出版者

社団法人日本体育学会

雑誌

日本体育学会大会号

巻号頁・発行日

no.24, 1973-09-01

著者

中田 考

出版者

「宗教と社会」学会

雑誌

宗教と社会 (ISSN:13424726)

巻号頁・発行日

no.13, pp.220-228, 2007-06-09

著者

斎藤 泰弘

出版者

イタリア学会

雑誌

イタリア学会誌 (ISSN:03872947)

巻号頁・発行日

no.43, pp.28-55, 1993-10-20

---

"Salvatico e quello che si salva". Leonardo ha scritto nel suo Codice Trivulziano questa frase misteriosa e ambigua e che finora nessuno e riuscito a interpretare in modo convincente. Ma il vero senso di questa frase lo si puo, chiarire solo confrontandola con un passo di Machiavelli che considera le ragioni per cui non ci rimane nessuna traccia dell'antichita remota. Secondo lui, fra le cause che estinguono le civilta umane e riducono a pochi gli abitanti del mondo, la piu importante e costituita dalle innondazioni, perche sono le piu universali e "quegli che si salvono sono uomini tutti montanari e rozzi". Vale a dire, solo gli "uomini selvatici" sopravvivono al Diluvio universale e poi ricominciano a costruire da zero la loro nuova civilta. Cosi diventa chiaro che la frase ambigua di Leonardo nasconde in se un pensiero escatologico e, nello stesso tempo, ciclico della Storia umana, e i due ricercatori della Natura e dell'Uomo hanno molti concetti fondamentali in comune. Per esempio Leonardo definisce la forza come una "virtu spirituale, la quale e creata e infusa, per accidental violenza, dai corpi sensibili negli insensibili, dando a essi corpi similitudine di vita, la qual vita e di mararigliosa operazione", e ne formula una proposizione generale : "La forza nasce per violenza e muore per liberta". Si noti che questa concezione della forza e un po'troppo antropomorficizzata. Al contrario il concetto della virtu machiavelliano e molto de-spiritualizzato e quasi si identifica con la forza di Leonardo. Ad esemio parlando dell'esercito, Machiavelli afferma "quivi essere maggior virtu [=forza militare] dove la elezione [=liberta di scelta] ha meno autorita", e questa virtu nasce dalla necessita [=mancanza di liberta]. Accoppiando i termini corrispondenti forza=virtu, violenza=necessita e liberta=elezione, ci si accorge subito che le due proposizioni hanno una stessa struttura e uno stesso significato fondamentale : qualsiasi costringimento (violenza o necessita) fa aumentare l'energia potenziale (forza o virtu) e la liberta la fa perdere. Tutto sommato, questa legge universale sull'Uomo e sulla Natura si fonda sulle osservazioni dell'acqua, l'elemento piu minaccioso e dannoso per la vita umana. Cosi, secondo i due pensatori rinascimentali, il compito piu degno dell'Uomo come la "seconda Natura" e di dominare e controllare la forza naturale, compresa quella propria dell'uomo, per creare un nuovo mondo artificiale dell'Uomo.

著者

阪上 辰也

出版者

広島大学外国語教育研究センター

雑誌

広島外国語教育研究 (ISSN:13470892)

巻号頁・発行日

no.18, pp.55-64, 2015

---

The purpose of this paper is to investigate students' reactions to re-presented TED conference presentations. A text mining method was used to analyze the data for this research. Text mining is a way to discover knowledge from text data. It is widely used not only in medicine and finance, but also in the humanities. Free software that allows quantitative analysis of free description responses is available. In this study, the text data that were collected from the students in an English classroom were analyzed with the "KH Corder" software, which allows processing of the data, calculation of word frequency, extraction of colloquial expressions, and visualization of the data. As a result, the frequencies of particular words such as "time," "remember," "content," and "difficult" were high. This result indicates that the students did not set aside enough time to prepare for the presentation, taking more time for their own research activity than for studying English, and that they had difficulty understanding and keeping up with what the speaker said in a presentation. This means that clear guidance on how to use and learn materials should be provided to students learning languages.

著者

杉山 貴士

出版者

佛教大学

雑誌

福祉教育開発センター紀要 (ISSN:13496646)

巻号頁・発行日

vol.12, pp.165-179, 2015-03-31

---

昨今、性的マイノリティがメディアを通じて見聞きする機会が増えている。性同一性障害が「性的違和」に変更となり、地方議員や国政に進出する当事者も現われている。さらに最近は「LGBT 市場5.7 兆円」に代表されるように、市場価値を持つゲイがクローズアップされ、消費に旺盛な当事者像が出される一方で、自尊感情が低く「ゲイの自殺企図率は異性愛者の6 倍」という当事者像も出される。そうした狭間で実際に多くいるはずの「地域や組織で役割を果たして生計をなす当事者不在」となっている。 こうした現状で民医連職員としてゲイとして保健医療福祉専門職へ性的マイノリティ支援教育研修の機会を得た。地域や組織で働くゲイのありようを示しながら、研修の概要やポイントを整理し、研修によってどう行動変容があったのか受講者の声等を紹介する。同じ職場環境にいながら性的マイノリティ支援研究を進める当事者が行う研修の効用を考える。