著者

氏家 恒太郎

出版者

一般社団法人 日本地質学会

雑誌

日本地質学会学術大会講演要旨 第125年学術大会(2018札幌-つくば) (ISSN:13483935)

巻号頁・発行日

pp.70, 2018 (Released:2019-08-16)

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本講演はキャンセル(講演取消)となりました.キャンセルされた講演要旨は引用できません.ご注意ください.

出版者

日本内分泌外科学会・日本甲状腺外科学会

雑誌

日本内分泌・甲状腺外科学会雑誌 (ISSN:21869545)

巻号頁・発行日

vol.33, no.4, pp.Pref04_1-Pref04_3, 2016 (Released:2017-01-26)

著者

服部 一裕 徳本 大 柏崎 耕志 栗山 寛子 前野 紀一

出版者

公益社団法人 日本雪氷学会/日本雪工学会

雑誌

雪氷研究大会講演要旨集 雪氷研究大会(2015・松本) (ISSN:18830870)

巻号頁・発行日

pp.27, 2015 (Released:2016-02-29)

著者

ジラルデッリ青木 美由紀

出版者

国際日本文化研究センター

雑誌

世界の日本研究 = JAPANESE STUDIES AROUND THE WORLD

巻号頁・発行日

vol.2019, pp.4-31, 2020-03-31

著者

土井十二 著

出版者

教育図書

巻号頁・発行日

1941

著者

衆議院事務局 [編]

出版者

内閣印刷局

巻号頁・発行日

vol.昭和17年11月 乙, 1942

著者

大蔵省印刷局 [編]

出版者

日本マイクロ写真

巻号頁・発行日

vol.1921年06月24日, 1921-06-24

著者

[關盈文] [編]

出版者

[羣玉堂松本善兵衛]

巻号頁・発行日

1790

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北尾政美写の花鳥絵本。通行書名は『海舶来禽図彙』。画帖装。色摺り。扉に、「南京費晴湖 同程赤城閲」とあり、2人の来舶清人の校閲を受けた。扉に「六友舎臧」とある。大英博物館本と比較して、序文、凡例、奥付と、2図ある南京人図の1図を欠く。刊年は、大英本の関盈文の漢文序に寛政2年(1790)9月とあることを勘案して、寛政2、3年と推定されている。版元は江戸の群玉堂松本善兵衛。序文などによれば、本絵本は、盈文が長崎で目にした舶来の珍しい禽獣の図譜(渡辺秀詮筆か)を縮写させて江戸に持ち帰ったところ、群玉堂の懇望により出板に及んだという。目次に、「南京人図」以下、舶載した鳥と花木の名を組み合わせて挙げる。鳥の名は、「寿帯鳥」「画眉鳥」「黄鸝」「鶺鴒」「白鷴」「竹鶏」「白頭翁」「十姉妹」「鷂禽」「鷓鴣」と、すべて漢語表記による。一方、花木の名は、来舶の鳥と日本の花木との取り合わせという趣旨から、和名をカタカナで表記する。絵は精細に努めており、特に鳥は、自然描写を背景に、木の枝に止まったり、地面を移動したりする伝統的な構図によって、生き生きと描かれている。彩色は、やや抑え気味であるが、同系色の濃淡や、背景の拭きぼかし、没骨などの技法をふんだんに使用する。喜多川歌麿の『百千鳥狂歌合』と双璧の花鳥絵本とされる。稀本。なお本絵本の解説書として、寛政5年9月、松本善兵衛刊、関盈文著の『海舶来禽図彙説』(当館請求記号:特1-397, 特7-76)1冊が存する。

著者

並河永 著

出版者

日本古典全集刊行会

巻号頁・発行日

vol.上巻, 1929

著者

萩原 真美

出版者

法政大学沖縄文化研究所

雑誌

沖縄文化研究 (ISSN:13494015)

巻号頁・発行日

vol.45, pp.467-504, 2018-03-31

著者

永谷 文代 松嵜 順子 諏訪 絵里子 上西 裕之 谷池 雅子 毛利 育子

出版者

公益社団法人 日本心理学会

雑誌

心理学研究 (ISSN:00215236)

巻号頁・発行日

pp.92.20226, (Released:2021-10-15)

参考文献数

33

被引用文献数

1

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The aim of this study was to investigate the reliability and validity of the Japanese version of the Behavior Rating Inventory of Executive Function – Teacher form (BRIEF-T). This modified BRIEF-T was administered to 643 children (1st─6th grades) as a community group and 64 boys with ASD and/or ADHD as a clinical group. Confirmatory factor analysis showed that the modified rating scale had a two-factor structure, corresponding to its original version. Additionally, the results indicated that the scale had high internal consistency, test-retest reliability, and concurrent validity. Furthermore, upon setting the cutoff point at mean + 1.5 SD based on the original version, 3.3─9.7% of boys and 5.7─10.1% of girls in the community group were estimated to have executive dysfunction. In the clinical group, the discriminative power was low in the 1st and 2nd grades but was appropriate in children in the 3rd to 6th grades. These findings suggest that the Japanese version of BRIEF-T is reliable and valid, and could be an effective method for the screening children suffering from executive dysfunction.

著者

村松 美邑 後藤 春彦 山村 崇 林 廷玟

出版者

日本建築学会

雑誌

日本建築学会計画系論文集 (ISSN:13404210)

巻号頁・発行日

vol.86, no.786, pp.2125-2135, 2021-08-30 (Released:2021-08-30)

参考文献数

22

被引用文献数

1

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In Japan, during the post-war reconstruction and the period of high economic growth, land use prioritized short-term economy and efficiency. As a result, urban space has been fragmented by the incessant insertion of landscapes devoid of connection with others, greatly undermining the meaning and richness of the spatial experience. As a new means of landscape formation in such urban spaces, there is a demand for a perspective on the "Lifescape" that is unconsciously generated in our daily lives. In this study, we define "Nameless Landscapes" as unobtrusive and unnamed landscapes that are not eye-catching landscapes such as landmarks and historical monuments, but rather familiar living environments and activities in them, and focus on their value and approach the real picture. The "Nameless Landscape" , that is unconsciously created in our daily lives and whose value is difficult for the people themselves to recognize and evaluate, is analyzed from the perspective of a "stranger = traveler". This study targets Korean repeat tourists who have stayed in Tokyo under the hypothesis that repeat tourists have an excellent eye for the "Nameless Landscape" through multiple experiences. By analyzing the process of discovering and interpreting "Nameless Landscapes" , including social aspects of life and culture, this study aims to clarify the structure of the semantic interpretation that appears between the landscape and the foreign traveler (hereinafter, this is called "observer") and the nature, the value of the "Nameless landscapes" . The main results obtained are as follows: 1) When an observer perceives a landscape, he or she first momentarily draws out prior knowledge related to the object from the knowledge stores within the self in an instant, and then "interprets" the meaning of the object being viewed by combining such knowledge with the visual information of the landscape. Interpretation means capturing the invisible elements of the landscape as information, such as the context and localities that it possesses. Through interpretation, the landscape is contextualized and a 'depth' of meaning is brought to it. The "Nameless Landscape" as interpreted by the observer is stored and accumulated as new knowledge, sometimes accompanied by "knowledge updates" such as reinforcement or overwriting of prior knowledge. 2) A "structural model of semantic interpretation" was derived that appears between the "Nameless Landscape" and the observer. This indicates that the landscape as fragmentary information becomes "three-dimensional" as it is given meaning by the observer, and the process of establishing it as a "landscape" is also a process of "knowledge circulation" that involves the knowledge of information. 3) It is considered that the "Nameless Landscape" that emerges endogenously from the local environment and requires a conscious interpretation by the observer is particularly strong in the above characteristics, and the experience of the "Nameless Landscape" can be found to be valuable as an opportunity for the observer to "learn" and cultivate his or her observational eyes.

著者

加藤 重広

出版者

北海道大学文学研究科

雑誌

北海道大学文学研究科紀要 (ISSN:13460277)

巻号頁・発行日

vol.146, pp.259-293, 2015-07-24

著者

宮台 真司

出版者

数理社会学会

雑誌

理論と方法 (ISSN:09131442)

巻号頁・発行日

vol.3, no.2, pp.2_3-2_30, 1988

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社会学の主流的伝統では,権力が服従者の了解を経由して働くことを,暗黙にせよ前提する。ウェーバーの定義は周知であるが,パーソンズでさえ,機能的側面として資源配分機能に着目したとはいえ,機能の帰属先である対象的外延としては「シンボルによって一般化された」権力(=公式権力)だけを問題化した。権力に想定される了解構造は,権力についての様々な問題設定を境界づけるが,了解構造自体を明確に主題化した業績は実に少ない。<BR> 我々は第1に,この了解構造を明確に取り出して,従来の諸定義を比較可能にすると共に,それ自身を権力の定義に据える。その結果,権力は権力者の意図や自覚から分離されて,服従者の体験にだけ定位した概念となる。<BR> 第2に,それを利用して,伝統的な権力理論の様々な主題──威嚇/報償の差異・予期の機能・正当性/公式性/合法性の差異・国家権力など──を相互に関係づけて論じ,発見された諸問題を記述する。<BR>(*前半部(10. 迄)は1987年10月の社会学会報告のレジュメとほぼ同一である)

著者

扇面亭 編

出版者

風俗絵巻図画刊行会[ほか]

巻号頁・発行日

vol.1・2編, 1918

著者

中島 和歌子

出版者

国文学研究資料館

雑誌

国文学研究資料館紀要. 文学研究篇 (ISSN:18802230)

巻号頁・発行日

no.40, pp.1-52, 2014-03

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藤原道長の日記『御堂関白記』の陰陽道の記事では、方角神や祭祀、官職、式占などの正式名称・専門用語がほとんど用いられず、「陰陽師」「忌日」「吉日」「宜日」「方忌」「忌方」「祭、禊(祓)」などの通称・総称・間接的な表現が用いられている。これらの用語は、『源氏物語』『栄花物語』などの平安仮名文学作品に類似しており、藤原実資の『小右記』とは対照的である。また、「厄」「呪詛」は皆無、「崇」も希少で、物の気は三条と頼通の病因の三例しか採り上げないなど、書き記すことを避けた言葉や事柄がある。つまり言忌をしている。物忌や祓の数が多いことは他書と同様だが、道長の祓好きは特筆すべきで、下巳を含め、多種多様な祓(表記は主に「解除」)が記されている。基本的な祓所は中御門大路末の河原であり、土御門第は祓に行きやすい。一方、寛弘四年・八年の御嶽精進中の公的祭場での河臨祓は、氏寺の相地などと共に、公家に倣ったものである。また、道長の暦注の遵守、天文密奏の内覧、上臈の陰陽師達の階層別の私的奉仕などは、藤原摂関家や摂関・氏長者らしいと言える。その他、上巳祓や夏越祓、吉方詣などに正妻やその娘達を伴った記事が散見する。また、道長自身以外では、「御衰日」や「滅門」への拘り、病事の式占、除病の祭・祓、呪符の採用など、外孫敦成親王(後一条天皇)の記事が特に多い。これらから、道長が公私に「家」を大切にしたことが窺える。In Midokanpakuki, a diary of Fujiwara no Michinaga, most of articles about onyodo are circumlocutory, since, in most cases, common names of things or generic terms are used instead of true names of things or technical terms in onyodo. This tendency is also found in kana literature, making contrast with Shoyuki, a diary of Fujiwara no Sanesuke.Michinaga avoided using some words. For instance, none of yaku and juso, and few terms like tatari and jake are found in his diary. He, thus, did kotoimi.Similar to other books in Heian, Midokanpakuki has many articles of monoimi and harae. Michinaga was remarkably keen on harae and wrote reports of a great variety of harae (Written as gejo), including kashi in his diary. Basically, haraedokoro was placed on the shore of river in the end of Nakamikado-oji avenue, and Tsuchimikadodai was located for harae. Karinnoharae hold during mitakesoji were reproductions of those of kouke, just like sochi of ujidera. Some manners, such as obedience to rekichu, show the characteristics of sekkanke or ujinochoja.Michinaga's wife and daughters appear in some articles of harae or ehomode in the diary. Furthermore, the number of articles of Atsuhira-Shinno (Goichijo-Tenno) is remarkably high. Michinaga, therefore, appears to have had high regard for his family.

著者

室田 浩之

出版者

一般社団法人 日本アレルギー学会

雑誌

アレルギー (ISSN:00214884)

巻号頁・発行日

vol.68, no.7, pp.815-822, 2019 (Released:2019-08-09)

参考文献数

47

著者

染谷 香理

雑誌

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

巻号頁・発行日

no.414, pp.35-57, 2015-02-20

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The author has assembled and analyzed a large number of technical manuals related to Japanese painting. The Enogu saishiki hitorigeiko is one such manual dating to the latter half of the Edo period, and is today in the collection of the University Library, Tokyo University of the Arts. Given the unique characteristics of this book as noted below, this article introduces the book from the author’s stance as a Nihonga painter. The Enogu saishiki hitorigeiko was written by two men, with the first half primarily written by Kansai, an Edo painter, while the notes and second half were written by Shikada Takakiyo, who is unknown except for having lived in Kyoto. The book was published in 1825 (Tenpô 5) by the Edo publisher Bunkokudô. This was a technical manual whose contents were extremely unbalanced. This imbalance can be seen in the fact that of the 23 sections of the main text, the first four sections explain the use of pigments, while the remaining 19 sections note 47 different types of materials and the amount of sizing needed for each of those types. Kanga hitorigeiko (1807) by Miyamoto Kunzan is another technical manual published around the same time that bears the term “hitorigeiko” or self-study guide in its title. Miyamoto’s book presents an exhaustive discussion of the knowledge necessary to paint pictures, namely painting theory, brush methods, picture models, painting materials, and their usage. Thus, a beginning student reading Miyamoto’s book could teach themselves, or hitorigeiko. Conversely, if students only used the Enogu saishiki hitorigeiko book, they could well be totally confused. Changing how sizing is applied depending on the materials and the thickness of paper or such is a general aspect of painting a picture, and because in most instances the differing use of amounts of nikawa (animal glue) and myôban (alum) is not as detailed as noted in this book, it is sure to invite confusion in a beginner student. In addition, because there was absolutely no inclusion in the book of the information that would be essential in a technical manual of the period -- such as the mindset needed to paint a picture, brush methods or the use of picture model books or compilations -- the careful focus on the sizing stage preparatory to painting the actual picture highlights the glaring omission of a section focusing on the details needed to paint a picture. Further, at the end of the section noting how to use pigments, the author writes “I will stop at noting that other than this method there are various means of coloring using pigments, and other secretly transmitted information is noted in detail in section two (dai ni hen).” Regardless, there seems to be no section two. We can imagine that while plans were made to write the second section, in the end it was never published. The facts related to this matter, however, remain unclear. Future research is needed to trace the reasoning behind the incomplete composition of this book and the process by which it was produced.

著者

海軍省海軍軍事普及部 編

出版者

海軍省海軍軍事普及部

巻号頁・発行日

vol.第6輯, 1938

著者

Hiroyuki Ariyama

出版者

The Japanese Society of Systematic Zoology

雑誌

Species Diversity (ISSN:13421670)

巻号頁・発行日

vol.26, no.1, pp.79-91, 2021-03-22 (Released:2021-03-22)

参考文献数

15

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Two species of the paracalliopiid Amphipoda are recorded from the Ryukyu Archipelago in Japan, one of which is Mucrocalliope ryukyuensis sp. nov., the second species of the genus. This new species is very similar to the type species, M. shimantoensis Ariyama and Azuma, 2011 from the Shimanto estuary, western Japan; however, M. ryukyuensis can be distinguished from M. shimantoensis by the longer peduncular article 4 of the male antenna 2 and the basis of the male pereopod 5 with a posteromedial plumose seta. The other species is Paracalliope dichotomus Morino, 1991; its morphology in female and the coloration are firstly described.