著者

安念 潤司

出版者

中央ロー・ジャーナル編集委員会

雑誌

中央ロー・ジャーナル (ISSN:13496239)

巻号頁・発行日

vol.10, no.1, pp.33-61, 2013-06-30

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日本音楽著作権協会(JASRAC)は、多年にわたり、ライセンスの方法として「包括許諾」「包括徴収」と呼ばれるブランケット方式を採用してきた。これに対して公取委は、私的独占に当たるとして排除措置命令を発したが、JASRACの審判の申立を受けた公取委は、原処分を取り消す審決をなした。この審決に対して、JASRACの競争事業者がその取消しを求めて東京高裁に出訴した。競争事業者は、排除措置命令取消審決を争う原告適格を有するのであろうか。本論文は、独禁法、行訴法はもとより、特許法、民訴法など関連の法分野の制度や議論を鳥瞰しつつ、競争事業者に原告適格はないとする結論を導いたものである。

出版者

日本印刷学会

雑誌

日本印刷学会誌 (ISSN:09143319)

巻号頁・発行日

vol.41, no.4, pp.200-216, 2004

著者

初澤 毅 栁田 保子

出版者

公益社団法人 精密工学会

雑誌

精密工学会誌 (ISSN:09120289)

巻号頁・発行日

vol.80, no.4, pp.365-368, 2014

著者

成瀬 恵治

出版者

日本表面科学会

雑誌

表面科学 = Journal of The Surface Science Society of Japan (ISSN:03885321)

巻号頁・発行日

vol.28, no.4, pp.204-210, 2007-04-10

参考文献数

14

著者

松井崇行

雑誌

高分子学会予稿集, 2003

巻号頁・発行日

vol.52, no.12, 2003

被引用文献数

2

著者

松井 崇行 小松 京嗣 戒能 俊邦

出版者

公益社団法人 高分子学会

雑誌

高分子学会予稿集 第52回高分子討論会

巻号頁・発行日

pp.628, 2003 (Released:2007-12-04)

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透明性に優れるコアと光機能性コアを結合した接合型光導波路の作製に際し、煩雑な工程を含んだ反応性イオンエッチングプロセスに代わる、光架橋性高分子とSoftLithography法を組み合わせたプロセスを検討した。

著者

増渕 鏡子 MASUBUCHI Kyoko

出版者

Seminar on History of Art, Graduate School of Comprehensive Human Sciences, University of Tsukuba

雑誌

藝叢 : 筑波大学芸術学研究誌 = Bulletin of the study on philosophy and history of art in University of Tsukuba (ISSN:02894084)

巻号頁・発行日

vol.12, pp.137-155, 1996-03-01

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著作権保護のため、すべての掲載図版に墨消し処理を施しています。

著者

清水 英恵

出版者

大阪歴史学会

雑誌

ヒストリア (ISSN:04392787)

巻号頁・発行日

no.135, pp.p22-43, 1992-06

著者

桜井 光一 三浦 俊明 小木曾 健人

出版者

公益社団法人日本薬学会

雑誌

藥學雜誌 (ISSN:00316903)

巻号頁・発行日

vol.106, no.11, pp.1034-1039, 1986

被引用文献数

4

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Protective effects of several hydroxyl radical (HO·) scavengers and superoxide dismutase on alloxan-induced diabetes were studied in vivo. Thiourea, methylthiourea, dimethylthiourea and ethanol, HO· scavengers (type 1), which easily cross cellular membranes, protected initial- and permanent-hyperglycemia. In contrast, mannitol and sorbitol (type 2), which can not cross cellular membranes, protected initial-hyperglycemia, but did not protect permanent-hyperglycemia. Furthermore, superoxide dismutase which is not expected to be incorporated into pancreatic β-cell, strongly protected initial-hyperglycemia but partially protected permanent-hyperglycemia. These results suggest that HO·primarily damages the β-cell membranes by acting at or neat a site involved in insulin release, and subsequently damages the intracellular components. From these results, the possible protective mechanism of these scavengers was discussed.

著者

一本 崇之

出版者

四天王寺大学

雑誌

四天王寺大学紀要 (ISSN:18833497)

巻号頁・発行日

no.65, pp.347-358, 2017

著者

安井 敏夫

出版者

一般社団法人 日本地質学会

雑誌

地質学雑誌 (ISSN:00167630)

巻号頁・発行日

vol.119, no.3, pp.222-225, 2013

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Edmund Naumann, a geologist employed by the Japanese government in the early Meiji period, visited Shikoku Island for geological investigation in 1883. At that time, two medical doctors named Otsuka and Teshima asked him to judge the quality of coal in the Ryoseki area of Kochi Prefecture. Little was known about Teshima until after a recent discovery of his grave and the remains of his house, which was used as a hospital and a private school in and around Ryoseki . He is identified Yoshinaga and was 53 years old at the time.

著者

山村 雄太 古市 賢吾 和田 隆志

出版者

一般社団法人 日本透析医学会

雑誌

日本透析医学会雑誌 (ISSN:13403451)

巻号頁・発行日

vol.51, no.2, pp.123-128, 2018 (Released:2018-02-28)

参考文献数

23

被引用文献数

1 2

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急性腎障害 (acute kidney injury: AKI) は, 腎予後・生命予後のみならず, 在院日数の延長や医療費の増大から医療経済的にも重要な問題である. 2004年以降, RIFLE分類・AKIN分類・KDIGO分類とAKIの診断基準が提唱された. 統一された基準を用いた解析が可能となり, 先進国における院内発症AKIを中心に多くの報告が集積され, AKI発症前の腎機能障害・蛋白尿が, AKIの発症に関して強いリスク因子となることが明らかとなってきている. 多国間共同研究であるThe 0by25 initiativeもスタートし, 発展途上国を含めた院外発症AKIの情報も集積しており, AKIの過半数は院外発症であることも明らかとなっている. 今後はより一層, 院外発症AKIの早期認識に向けた対策に加え, AKIの重要性について, 一般人口も含めて広く啓蒙していくことが重要である.

著者

[無記名]

雑誌

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

巻号頁・発行日

no.99, pp.31-38, 1940-03-25

著者

[無記名]

雑誌

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

巻号頁・発行日

no.98, pp.15-26, 1940-02-25

著者

浅見 雅子

出版者

一般社団法人 日本家政学会

雑誌

家政学雑誌 (ISSN:04499069)

巻号頁・発行日

vol.24, no.7, pp.567-570, 1973

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In the Heian era, all kinds of implements were called &ldquo;chodo.&rdquo; This paper is for showing pilologically how the meaning of implements changed in the Edo era.<BR>According to the dictionaries or the documents published in the period, we can know that the word implements involves two different kinds of the meaning in it; that is, we can call one &ldquo;chodo&rdquo; and the other &ldquo;kizai&rdquo; or &ldquo;kiyo.&rdquo; <BR>In the Edo era, &ldquo;chodo&rdquo; means the industrial art objects ornamented by gold or silver lacquer. On the other hand, &ldquo;kizai&rdquo; or &ldquo;kiyo&rdquo; means what we call functional implements.<BR>The most typical &ldquo;chodo&rdquo; of the Edo era is <I>daimyo</I>'s &ldquo;choddo&rdquo; involving the wedding one for <I>daimyo</I>'s daughters, which exists even now as a cultural inheritance. &ldquo;Kizai&rdquo; or &ldquo;kiyo&rdquo; as functional implements, which was made use of mainly by the common people, little exists for it was dealt with as expendable one.<BR>We can clearly distinguish between the meaning of &ldquo;chodo&rdquo; and that of &ldquo;kizai&rdquo; or &ldquo;kiyo&rdquo; in the Edo era. Nowadays the word &ldquo;chodo&rdquo; is used as a kind of pronoun given to luxurious furniture.

著者

中川 千咲

雑誌

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

巻号頁・発行日

no.235, pp.8-18, 1965-03-31

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Handicraft designs of the Momoyama Period are gorgeous and fresh and mark an epoch in the history of Japanese handwork. The Kōdaiji has a household shrine with makie (lacquer painted and decorated in gold) dated 1596 and furniture with makie which was used by TOYOTOMI, Hideyoshi (1536—1598, a war lord) which exemplify the handicrafts of that period. Lacquer wares of the same style and technique are, in general, called "Kōdaiji makie." In this paper the author discusses the characteristics of the design of an ink-slab box of this style in relation to the makie wares in the Kōdaiji. In the Kōdaiji, there is a letter box with the same kind of decoration as this ink-slab box. Both of them have diagonally divided picture planes; a section on the ink-slab box has a design of pine trees imitating the Kano School painting of that time, and one on the letter box has the same kind of bamboo design. Both show a traditional taste. In another section of the former, stemmed chrysanthemums and other flowers are patternistically rendered and in another section of the latter, autumn grasses are represented in a naturalistic way but with the same kind of patternistic flowers and leaves. The style and the technique of both are quite similar. And, further, the design of autumn grasses of the letter box has characteristics in common with that of the household shrine, which is stylistically close to the paintings of the Kano School of the day. These facts suggest that the design of the chrysanthemum of the ink-slab box has some relation to contemporary painting. The method of decoration using diagonal divisions is said to have been borrowed from the design pattern of costumes. But since it has earlier example in makie works of the Muromachi Period, the author considers that those now in question are a development of them. In other words, the design of this inkslab box combines two kinds of design principles. One is a pattern borrowed from the then prosperous Kano School of painting and is traditional in compositional method and technique. The other also is based on the Kano School of painting but is stylistically newer and bolder. It is said that KANO, Mitsunobu (1561—1608), a famous painter of the Kano School, may have some connection with the makie designs of the Kōdaiji. Although there may be that kind of possibility, no one has clarified it. The household shrine was made by Chōan, the seventh master of the Kōami Family (1569–1610), and others; and other pieces of furniture are also said to have been made by the same people. This inkslab box also must have the same origin. However, judging from the rigidity of the expression, it may date from a little later. The platform on which the household shrine is placed also has makie design and an inscription. The inscription suggests that it was made by a group led by a younger brother of Chōan. On the other hand a priest's chair is decorated with several patterns of different quality from the others. As Chōgen (died in 1607), a younger brother of Chōan, created a unique design, there is a probability that he had some relation to it.

著者

[無記名]

雑誌

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

巻号頁・発行日

no.98, pp.15-26, 1940-02-25

著者

[無記名]

雑誌

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

巻号頁・発行日

no.99, pp.31-38, 1940-03-25

著者

中川 千咲

雑誌

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

巻号頁・発行日

no.235, pp.8-18, 1965-03-31

---

Handicraft designs of the Momoyama Period are gorgeous and fresh and mark an epoch in the history of Japanese handwork. The Kōdaiji has a household shrine with makie (lacquer painted and decorated in gold) dated 1596 and furniture with makie which was used by TOYOTOMI, Hideyoshi (1536—1598, a war lord) which exemplify the handicrafts of that period. Lacquer wares of the same style and technique are, in general, called “Kōdaiji makie.” In this paper the author discusses the characteristics of the design of an ink-slab box of this style in relation to the makie wares in the Kōdaiji. In the Kōdaiji, there is a letter box with the same kind of decoration as this ink-slab box. Both of them have diagonally divided picture planes; a section on the ink-slab box has a design of pine trees imitating the Kano School painting of that time, and one on the letter box has the same kind of bamboo design. Both show a traditional taste. In another section of the former, stemmed chrysanthemums and other flowers are patternistically rendered and in another section of the latter, autumn grasses are represented in a naturalistic way but with the same kind of patternistic flowers and leaves. The style and the technique of both are quite similar. And, further, the design of autumn grasses of the letter box has characteristics in common with that of the household shrine, which is stylistically close to the paintings of the Kano School of the day. These facts suggest that the design of the chrysanthemum of the ink-slab box has some relation to contemporary painting. The method of decoration using diagonal divisions is said to have been borrowed from the design pattern of costumes. But since it has earlier example in makie works of the Muromachi Period, the author considers that those now in question are a development of them. In other words, the design of this inkslab box combines two kinds of design principles. One is a pattern borrowed from the then prosperous Kano School of painting and is traditional in compositional method and technique. The other also is based on the Kano School of painting but is stylistically newer and bolder. It is said that KANO, Mitsunobu (1561—1608), a famous painter of the Kano School, may have some connection with the makie designs of the Kōdaiji. Although there may be that kind of possibility, no one has clarified it. The household shrine was made by Chōan, the seventh master of the Kōami Family (1569–1610), and others; and other pieces of furniture are also said to have been made by the same people. This inkslab box also must have the same origin. However, judging from the rigidity of the expression, it may date from a little later. The platform on which the household shrine is placed also has makie design and an inscription. The inscription suggests that it was made by a group led by a younger brother of Chōan. On the other hand a priest's chair is decorated with several patterns of different quality from the others. As Chōgen (died in 1607), a younger brother of Chōan, created a unique design, there is a probability that he had some relation to it.

著者

稲福 日出夫

出版者

沖縄国際大学沖縄法政研究所

雑誌

沖縄法政研究 (ISSN:13448242)

巻号頁・発行日

vol.8, pp.235-274, 2005-12

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