著者
陸川 章
出版者
東海大学体育学部
雑誌
東海大学紀要 体育学部 (ISSN:03892026)
巻号頁・発行日
no.33, pp.35-42, 2003

The purpose of this study was to conduct a computer-assisted, comparative analysis of the Tokai University men's basketball team and 4 JBL Super League teams, and to find areas of improvement for the Tokai University men's basketball team and one particular shooter. Tokai University Basketball Game Analysis Software was specially developed to analyze characteristics of the offense of teams and of individual players. Three findings of the comparative analysis of the team were:(a) an increase in the shooting success rate through the strengthening of team offense, inside play, and offense rebounding; (b) an increase in the success rate of fast break; and (c) a decrease in turnovers. Also, two findings from the comparative analysis of a particular Tokai University player and a selected player from one of the Super League teams were (a) on-court judgments about the shot selections and (b) improvement in shooting ability. The author concluded that future practice of the Tokai University men's basketball team should be organized to improve these areas.
著者
吉川 英一郎 Eiichiro Yoshikawa
出版者
同志社大学商学会
雑誌
同志社商学 = The Doshisha business review (ISSN:03872858)
巻号頁・発行日
vol.72, no.4, pp.507-565, 2021-01

「国際的な消費者契約」を扱う日本の判決例について、「国際」&「消費者契約」を検索語として判例データベースを用い、33件のケースを呼び出して、国際契約トラブルとしての日本における消費者契約訴訟の傾向を(国際裁判管轄条項や準拠法条項を中心に)紹介したいと考える。その33件については別表としてその要旨をそれぞれ掲載する。研究(Article)
著者
加藤 敬太
出版者
特定非営利活動法人 組織学会
雑誌
組織科学 (ISSN:02869713)
巻号頁・発行日
vol.47, no.3, pp.29-39, 2014-03-20 (Released:2014-06-30)
参考文献数
25
被引用文献数
2

本稿の目的は,ファミリービジネスにおける企業家活動のダイナミズムを明らかにすることである.従来のファミリービジネス研究では,ファミリービジネスにおける保守的なガバナンス構造と戦略創造の静態的な関係性を論じてきた.本稿では,ミツカングループの事例分析から,ファミリー企業家による企業家活動と戦略創造のダイナミックな関係を明らかにする.

1 0 0 0 OA 科学史研究

著者
日本科学史学会 編
出版者
日本科学史学会
巻号頁・発行日
vol.11, no.102, 1972-06

1 0 0 0 OA 科学史研究

著者
日本科学史学会 編
出版者
日本科学史学会
巻号頁・発行日
vol.9, no.96, 1970-12

1 0 0 0 OA 科学史研究

著者
日本科学史学会 編
出版者
日本科学史学会
巻号頁・発行日
vol.17, no.126, 1978-06
著者
大塚 好古
出版者
海人社
雑誌
世界の艦船
巻号頁・発行日
no.945, pp.94-97, 2021-04
著者
林 翔太 山本 雄平 中村 健二 田中 成典
雑誌
第77回全国大会講演論文集
巻号頁・発行日
vol.2015, no.1, pp.781-782, 2015-03-17

過去の交際相手の写真等のコンテンツを嫌がらせ目的でSNSや画像投稿サイトに公開するリベンジポルノが問題視されている.これらのコンテンツは,削除申請があった場合,法律にしたがって削除されるが,適切に削除されたかの確認は申請者側で行う必要がある.しかし,これらのWebサイトでは,新しい投稿によりページの表示内容が更新されるため,削除申請したコンテンツが別のページへ移動している場合があり確認が困難である.そこで,本研究では,Webサイト中の動的な変化に着目し,削除対象と同一のコンテンツ探索手法を提案する.実証実験では,動的なWebサイトと同様の環境を再現し,コンテンツの探索可否を検証する.
著者
森西 真弓
出版者
大阪樟蔭女子大学
雑誌
樟蔭国文学 (ISSN:03898792)
巻号頁・発行日
vol.57, pp.17-33, 2021-03-01
著者
高田 修
雑誌
美術研究 = The bijutsu kenkiu : the journal of art studies
巻号頁・発行日
no.219, pp.1-16, 1962-08-30

Studies on Indian art history entail all kinds of difficulties owing to the obscurity of historical facts; lack of chronological evidences renders those art objects undatable and leads to diver gence of theories and opinions among scholars. This is true in the case of early Indian sculpture too. There are a number of male and femal statues that are generally attributed Mauryan. In fact, they present an appearance of archaic or ancient stylistic features, but a careful scrutiny makes such an attribution questionable, and the present writer has come to a conclusion that some of them should not be dated as early as the Maurya Period. This article is the first part of stylistic researches on the early ancient Indian statuary represented by Yakṣa-Yakṣi images, of which he had an opportunity to survey and take picture the large number of important works in 1958–59. After noting the general feature of YakṣaYakṣi image worship in ancient India, the author proceeds to examine in detail (1) the female deity excavated at Didarganj (Pl. I), (2) the standing Yakṣa from Parkham (Pl. II) together with the bust from Baroda, (3) the two standing Yakṣas unearthed at Patna. All these statues have been ascribed to the Maurya Period by most Indian art historians. It is generally admitted that the female deity, so-called chauri-bearer, from Didarganj, is comparable in style and technique to the art of Asoka pillars. The author, too, is of the same view, permitting a little difference ; and he questions the validity of B. Rowland's recent attempt to bring it closer in style and in time to the Yakṣīs of Sānchi toraṇas. It is true that the influences from ancient Iran and the West are undeniable in the official art of the Aśoka's reign, but we cannot fail to notice the process of Indianization of foreign elements already well advanced even in the Sārnāth capital, the masterpiece of the time. Compared with the latter, the female deity in question, of which plastic feeling and expression are Indian, reveals a more Indianized phase of the Mauryan official art. And it will be almost safe to look upon its style as the late Maurya. By the way, thisdeity or chauri-bearer is no other than a Yakṣī, demi-goddess in the indigenous worship, and on it we can see an idealized female figure modelled from a Mauryan court lady. As to the colossal Yakṣa from Parkham, which shows the archaic style and immature technique, the present writer is in agreement with others who appropriately attributed it to an earlier period, explaining as a product of the indigenous Indian art of the time, that had birth without any foreign influence. The archaism of the statue, however, should not lead us to too old a period, because it has an inscription of so-called Mauryan scripts, which tells us it was intended a Yakṣa Maṇibhadra. The early years of the second century B. C., either the late Maurya or the early Śunga, seems a reasonable date for this work. It is to be noted that the statue constitutes the sculptural source, from which we can trace the stylistic development of the Śunga art from Bhārhut, Sānchi II to Budhagayā, etc. The same is the case of Yakṣa from Baroda, which, though mutilated and much obliterated, has the identical characteristics in style and technique. Lastly, the two Yakṣa statues from Patna, which must have been chiseled in the same workshop, have been positively thought to date from the Maurya, and L. Bachhofer has gone so far as to regard it older than these examples just mentioned. But the particular oblique folds of the dhoti (loin cloth) and the advanced expression in the details of the body are different from the Didarganj Yakṣī in its fundamental plastic feeling, which was as noted above, a product of the amalgamation of the evolved official art and the primitive native one in the Maurya Period. Their volume, stiffness and other plastic features will rather bring them close to the Buddhas at Mathurā in early Kushān, which are exemplified by the standing Buddha from Sārnāth, dated 3 rd year of Kaniṣka's reign (mid-2 nd century). This observation seems useful in proving the abrupt appearance of the massive Indian type of early Baddha images, and the two Yakṣas will be given a due stylistic position as the forerunner of the Buddhist statuary at Mathurā. The inscription on the scarf of one of the Yaksa which cannot be older than the first century A. D. from the palaeographical ground, may be taken as a clue to the date of the statue. Contrary to these scholars who want to see on these two Yakṣas a Mauryan style and accordingly suppose the inscription to be a later addition, the present author underlines that it must have been incised simultaneously with the statue.
著者
堀子 喜浩 三好 崇之 山下 徹 小酒 英範 益子 正文
出版者
公益社団法人 自動車技術会
雑誌
自動車技術会論文集 (ISSN:02878321)
巻号頁・発行日
vol.43, no.4, pp.881-886, 2012

ディーゼル燃料噴射装置のノズルシート部の摩耗機構の解明のために,市販のコモンレール式燃料噴射装置を基に製作した摩耗試験機を用いて,燃料添加剤濃度,シート部温度をパラメータとして試験を実施し,摩耗量計測,摩耗部の電子顕微鏡による観察,EPMAによる摩耗表面元素分析を行っている.得られた結果より,シート部摩耗機構として,シート面に生成される酸化スケールの剥離による摩耗の可能性を示している.