著者

高瀬 敦子

出版者

近畿大学英語研究会

雑誌

近畿大学英語研究会紀要 = Kinki University English Journal (ISSN:18827071)

巻号頁・発行日

no.2, pp.19-36, 2008-08-01

---

多読の効果を上げるには、授業内多読と平易な多読用本が不可欠である。授業内多読の効果は、忙しい学生の読書時間を確保できるためだけでなく、一斉読書により集中力を養い、教師の助言を受け、より効果的な多読を推進できるためである。平易な多読教材は、英語が苦手な学生の情意フィルターを下げ読む気を起こさせる。また、平易な教材をたくさん読むことにより多読初期段階での基礎固めができ、自動化が促進されてその後の進歩が容易になる。この研究では、毎週授業内で平易な本を使用し読書を行った再履修クラスと、毎週一定時間の授業内多読および授業外多読を行った1回生クラス、主に授業外でのみ読書を行った2回生クラスのリーディングカの伸びと多読に関する情意面の反応を比較した。結果は、1回生のクラスがリーディングカの伸びが一番大きく、再履修クラスがそれに続き、2回生の伸びが一番少なかった。多読に関するアンケートでは、再履修クラスがすべての項目で最高の肯定的な反応を示した。(英文) In-class SSR (Sustained Silent Reading) and easy reading materials are indispensable for a successful extensive reading program. SSR not only secures time for learners to read, but enables them to concentrate on reading under the guidance of a teacher. Easy materials lower the affective filter and motivate reluctant learners to read. A great abundance of easy materials also enables learners to acquire reading automaticity and facilitates a smooth upgrading of materials. This paper compares three different styles of practicing extensive reading: a group of repeaters who experienced SSR for a full period every week, two freshman groups who had some in-class SSR every week, and two sophomore groups who had hardly any in-class reading time. All the participants were encouraged to read outside of class. The results showed that the freshman classes gained most on the post EPER (Edinburgh Project on Extensive Reading) test, followed by the repeater group, who were also the most motivated to read.

著者

大塚 俊哉

出版者

公益財団法人 日本心臓財団

雑誌

心臓 (ISSN:05864488)

巻号頁・発行日

vol.44, no.4, pp.410-413, 2012 (Released:2013-10-02)

参考文献数

7

著者

河本英夫 稲垣諭編著 宇野邦一 [ほか執筆]

出版者

学芸みらい社

巻号頁・発行日

2019

著者

松橋 亘 梅津 荘一 佐々木 勝海 石原 哲

出版者

Japan Surgical Association

雑誌

日本臨床外科学会雑誌 (ISSN:13452843)

巻号頁・発行日

vol.64, no.2, pp.501-505, 2003-02-25 (Released:2009-03-31)

参考文献数

16

---

足底の発汗過多を主訴とする足底多汗症に対して内視鏡的腰部交感神経遮断術を行い,検討を加えた.対象は4例7肢.検討項目は年齢,性別,多汗症に関する家族歴と既往歴,観察期間,発汗過多部位,手術時間,術後入院期間,遮断方法,発汗停止部位,代償性発汗部位,術後合併症.結果は全例で治療が有効であり,最長40カ月の経過観察で再発を認めなかった.重篤な術後合併症は男性の1例で一過性の勃起障害を認めた.内視鏡的腰部交感神経遮断術の手術手技は手術用手袋に600~800mlの生食を注入し人工的な後腹膜腔を作製した.次いで炭酸ガスで8~12mmHgに保ち, 3ないし4本のトロッカーから腰部交感神経幹L2-4の範囲を電気凝固ないしは超音波凝固により遮断した.神経節の部位は術中のX線で確認した.内視鏡的交感神経遮断術は手掌多汗症と同様に足底多汗症でも適応となり得る術式であることが示された.

著者

大谷 省吾

雑誌

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

巻号頁・発行日

no.410, pp.38-54, 2013-09-13

---

Landscape with an Eye (1938) by Ai-Mitsu (1907–1946) is an altogether puzzling painting. The single eye, peering out at the viewer from the midst of a strange, lumpen, fleshy form, exerts a strong impression on its viewer, and yet a sense of mystery remains, what is the lump of flesh, whose eye is it? This painting is often called “a major example of Japanese Surrealism,” but what in fact actually influenced the painter to create this work? And is this positioning of the work appropriate? While various scholars have expressed a diverse range of interpretations, there has yet to be an established theory about the painting. In 2010 the Independent Administrative Institution National Research Institute for Cultural Properties, Tokyo, conducted an infrared photographic examination of the Landscape with an Eye. This article is an attempt at reinterpreting the painting on the basis of the new facts discerned from that examination. In detail, Part 1 considers the studies have been conducted on the work in the past and summarizes the previous issues raised, while Part 2 (to be published in Bijutsu Kenkyû 411) will discuss what new interpretations are possible based on the findings of the photographic survey.Part 1 Issues Were Raised by Previous Studies Landscape with an Eye was displayed in the 8th Dokuritsu Bijutsu Kyôkai exhibition held in 1938, where it was awarded the Dokuritsu Prize. At the time it was simply titled “Landscape [Fûkei].” Its current title was given to the work by a friend of the artist when a retrospective of Ai- Mitsu’s works was held in the post-war era. In 1966 the painting was acquired by the National Museum of Modern Art, Tokyo, and around that time the judgment that the painting is a major example of Surrealist painting created in Japan was set. Detailed analysis of the work and studies of its influence relationship particularly advanced in the years since the 1988 retrospective. Previous studies of the work have largely heralded two theories about the nature of the unidentified form that occupies the majority of the composition, stating it is either a lion, or a tree stump. From 1936 onwards, Ai-Mitsu visited the Ueno Zoological Gardens and made various sketches of the animals in the zoo and particularly created a large number of works with lion motifs. In all of these works the depiction of the lion is not literal and explanatory, but rather a section of the beast that would emerge from amidst a dark setting, or the animal is shown lying on its back. Thus he had a distinctive way of painting lions, and there are many scholars who believe that Landscape with an Eye was painted as along the trajectory from these lion images. In other words, up until now the persuasive argument has been that while he first began depicting lions, as he advanced in his depiction, gradually their forms were transformed, finally arriving at the creation of puzzling forms like that seen in this painting. There is also the theory that the form is simply the base of a tree stump. Mori Shikô, a painter and friend of Ai-Mitsu’s, recalled that around the first half of the 1930s Ai-Mitsu got a tree stump from the local gardener and brought it into his studio, where he used it in composing his paintings. In addition to the tree stump, Ai-Mitsu’s studio also included a mix of various objects, from bird corpses to dried fish and small stones. Thus the theory exists that these objets became the starting point for some of his works. There are convincing elements to both the lion and the tree stump theories. It is hard to deny either, and indeed one of the fascinating elements of this works is the duality of its images, and the fact that its images stand in the gap between formation and dismantling. On the other hand, there is one thing that is clearly painted in the composition, the eye. Up until now many of the scholars who have discussed the work have focused on the idea that in 1938, in other words a time when Japan was at war, Ai-Mitsu felt a sense of oppression, and the owner of this eye has been interpreted as either Ai-Mitsu himself, or it has been interpreted as the watchful eye of authority oppressing free expression. Dehara Hitoshi has noted the print by the Renaissance sculptor Jean Goujon that was published in the catalogue of the Fantastic Art, Dada, Surrealism exhibition held at the Museum of Modern Art, New York in 1936. This print was then re-published in the Japanese magazine Mizue. Dehara goes on to state that given the use of a “collage method in which a human eye was placed in the midst of an unrelated boulder,” Landscape with an Eye was in fact influenced by Surrealism. The fact that this strange lump in the composition has multiple interpretations also links it to Salvador Dali’s double image technique, and further suggests a Dali influence in the slight bit of horizon line visible on the right edge of the composition. For these reasons Dehara concluded that Landscape with an Eye is a major example of Japanese Surrealism. There are also those who have indicated the influence of Max Ernst and Kurt Seligmann. In fact, points in common between the Landscape with an Eye and Ernst’s series of forest paintings can also be indicated in areas such as the manner in which the border between forest and sky was painted. Seligmann himself came to Japan in 1936 and held a solo exhibition, and the glass paintings displayed in that show may have given Ai-Mitsu hints on layered pigment application. Ai-Mitsu was in fact influenced by all three – Dali, Ernst and Seligmann. However, is Landscape with an Eye simply a copy of the new Western trend known as Surrealism? Takiguchi Shûzô, an art critic who knew Ai-Mitsu recalled, “The voices he heard from Surrealism were actually unique to Ai-Mitsu. Truly, I remember feeling that there was something sudden in the way he took in Ernst.” Takiguchi had the impression that Ai-Mitsu deviated quite a bit from original Surrealism. Isn’t it this deviated bit itself that is important. What was it? Wasn’t there some way of opening painting to new potential in this deviation? What we must first clarify is this point. Then, if this kind of potential can be found in Landscape with an Eye, I propose that we should not position this Landscape with an Eye as “Surrealist painting in Japan,” but rather we should assign it a different position, one suitable for this new potentiality. The 2010 infrared examination of the painting will open the path to such a new interpretation. Part 2 of this article will discuss these issues in detail.

著者

大谷 省吾

雑誌

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

巻号頁・発行日

no.411, pp.27-38, 2014-02-21

---

Part II What observations can be made from the present study? An infrared photographic investigation of Landscape with an Eye was carried out in 2010 by Shirono Seiji of the National Research Institute for Cultural Properties, Tokyo. Two types of techniques were used, near-infrared reflection photography (light radiates from the object’s surface and the reflected light is captured), and near-infrared transmission photography (light radiates from the back of the work and the transmitted light is captured). Infrared light permeates more than visible light, and since materials such as pencil lead and charcoal absorb infrared rays, those areas show up on an infrared photography as black. Thus underdrawings and other elements of lower layers of a painting beneath the surface layer can be discerned. A comparison of the underdrawing imagery that emerges in such photography and the completed painting allow us to surmise the production process involved. The reflective near infrared photographs reveal to a degree the shape of a lump prior to the painter’s application of pigment in the sky area. The finished painting has a sense of volumetric mass, but in the underlying pigment layers, in other words, in the initial stages of the painting process, free and generously curving lines made up the form, and thus we can imagine that he gradually decided on the overall shape. Another noteworthy point can be found in the horizon line on the right edge of the composition that can be considered an important element in titling this work a landscape. In the lower pigment levels it is not a horizontal line, but rather is an unclear depiction that seems to be connected to the round form. In other words, during the production of this painting, it can be thought that more so than a landscape, it was an indeterminate shape that can only be called an object. Examination of the near infrared transmission photography reveals that in the initial production states an extremely unusual shape is depicted that differs from that in the finished version (in the photograph, the section that appears as dark black is not what was first painted, but rather is the top pigment layer that unfortunately was painted in pigments that include charcoal, and thus must be deducted from our consideration). While it is hard to determine exactly what this shape is, at the very least, the lion theory introduced in Part I of this paper does not seem possible. The most noteworthy element in this photograph, the eye in the center of the composition that can be considered the crux of the finished work, is not visible in the photography. In other words, this means that the eye was not painted until a much later stage of the production and indeed was painted in the surface layer of the painting. In essence, in the first stages of composition, Ai-Mitsu did not necessarily intend to depict a mysterious image that looks like an eye radiating piercing light in the midst of chaos, and rather the eye image emerged as he groped through the painting process. Dali influenced many of the painters of the day in Japan who had been taken by surrealism, and thus we can see paintings that include symbolic messages in their horizon line compositions. In those cases, the theme was determined before the painting process began, and then the composition was considered based on that theme. Once the image had been conceived, underdrawings were created and painting proceeded in a calculated fashion. By comparison, the groping painting method seen in Landscape with an Eye is quite special. Another example of this same painting method by Ai-Mitsu can be found in his Flower Garden (1940). The single butterfly that flies amidst the confused foliage in this work leaves a vivid impression. It has been recently confirmed that the butterfly did not appear in a picture postcard produced at the time of the painting’s display. In other words, Ai-Mitsu first proceeded with the depiction of the confused grasses and flowers, and at the end depicted the butterfly. If that is the case, then in the same way, just before finishing the Landscape with an Eye, it can easily be imagined that Ai-Mitsu struggled with the confused lump in the state of the landscape without the eye. Another noteworthy element of the production process of Landscape with an Eye is the collection of curved lines that can be seen in the lower pigment layers that seem to have emerged from amidst the pure gestures that surpassed the painter’s intentions. These curved lines are reminiscent of the lines in Max Ernst’s The Kiss (1927), although in Ernst’s case it seems as if images of people and other forms emerge from the accidental, while in Ai-Mitsu’s case the imagery cannot be easily identified. It would seem that in order to avoid explanatory depiction, he would destroy anything that seemed like it might emerge as a concrete image. In other words, the layering of pigment in order to grasp the sense of mass of an object, and the freely curving lines that seem to emerge from the painter’s own body rhythms, came to be layered on this single canvas. Therefore, in the end we cannot determine if this lump is a lion, or a lump of flesh or a tree stump. Ai-Mitsu may have been aiming at that state between meaning and meaningless, the state of being just unable to identify a concrete image. It is said that the Landscape with an Eye took more than two months to paint, and during that time he seems unable to have decided whether this misshapen lump of unknown form should have a concrete meaning, whether lion or tree stump, and he seized its existence alone in his hands, leaving it in the state of indeterminate form. This extremely unsettling sensation can be found in the climax of Sartre’s Nausea (1838). It recalls the scene where Roquentin is seated on a park bench,and feels nauseous as he looks at the roots of a chestnut tree. Since Ai-Mitsu did not know of Sartre, this comparison is nothing more than an arbitrary association. And yet, in the immediate post-war era Sartre’s existentialism gathered support from many cultured members of Japanese society, and there was a group of painters who sought to depict images of people who are aware that they have been hurled into the irrational world and exist in rivalry to it. The most important of these painters were Tsuruoka Masao and Asô Saburo who had formed the Shinjingakai with Ai-Mitsu during the war. In light of such facts, Ai-Mitsu’s Landscape with an Eye can be then seen as foreshadowing their postwar works. For example, Tsuruoka emphasized depicting objects rather than immaterial subjects, while Asô asserted, “I believe that realism is something whereby the power of the gaze and dissection are the same.” These comments by Tsuruoka and Asô from the postwar era can be seen to greatly overlap the production policy carried out by Ai-Mitsu in Landscape with an Eye. If, for that reason, we position Landscape with an Eye as a “Japanese Surrealist painting,” then we are in the dangerous position where its connection with the earnest search for realism that faced the reality of postwar society can tend to be overlooked. In that sense, I question whether or not it is good to consider Landscape with an Eye as a “Japanese Surrealist painting,” and I cannot easily answer that question in the affirmative. All the more so, this work stands out as an extreme example amidst the groping for realism thatsought to see reality as it is during the difficult era of the latter half of the 1930s, and the assertion that Tsuruoka and Asô continued the awareness of this issue means that this work can be considered to live on in history.

著者

掛下 達郎

出版者

経済理論学会

雑誌

季刊経済理論 (ISSN:18825184)

巻号頁・発行日

vol.54, no.2, pp.105, 2017 (Released:2019-07-08)

著者

二宮 健史郎

出版者

滋賀大学経済学部リスク研究センター

雑誌

CRR Discussion Paper, Series J

巻号頁・発行日

no.No-67, pp.1-19, 2018-09

---

サブプライム問題に端を発した世界的な金融危機の発生により、異端の経済学者であるH.P. ミンスキーの金融不安定性仮説は注目を浴びた。金融不安定性仮説は、多くの非新古典亜経済学者により数理モデルに展開されたが、その定式化は多岐に渡っている。本稿では、金融不安定性仮説の金融構造に焦点を当て、金融構造の変化を考慮したポスト・ケインズ派マクロ動学モデルを概観し、その特徴を整理して今後の研究の方向性を展望する。

著者

谷口 弘一

出版者

長崎大学教育学部

雑誌

長崎大学教育学部紀要 = Bulletin of Faculty of Education, Nagasaki University (ISSN:21885389)

巻号頁・発行日

vol.5, pp.167-173, 2019-03

著者

農林省馬政局 編

出版者

内閣印刷局

巻号頁・発行日

vol.昭和15年版, 1940

著者

石倉 雅男

出版者

経済理論学会

雑誌

季刊経済理論 (ISSN:18825184)

巻号頁・発行日

vol.52, no.3, pp.43-51, 2015-10-20 (Released:2017-09-19)

---

Minsky's classification of financing profiles of non-financial business firms based on his concept of "margin of safety" can be applied not only to problems in a domestic financial system, but also to those in the international financial system. The present paper investigates issues regarding financial instability in the international economy by extending his perspective to the relationship between creditor and debtor countries. Section 2 reviews Minsky's classification of financial profiles of non-financial business firms whose assets are financed by liabilities, namely, his concepts of hedge, speculative, and Ponzi financing, with a brief comment on how patterns of debt amortization affect the "margin of safety." Relying on Kregel's recent study of financial crises and international imbalances in the current global economy, we show in Section 3 that (1) the Asian financial crisis in the late 1990s was triggered and exacerbated by the liquidation of foreign currency-denominated debts owed by the non-financial corporate and banking sectors of those countries and (2) emerging Asian economies have boosted their exports by lending to their trading partners, as evidenced by the fact that China's trade surplus with the United States has increased and its holdings of U.S. long-term securities too have accumulated since the early 2000s. By re-examining Domar's analysis of the time behavior of the ratio of funds inflow (amortization plus interest received) to their outflow (foreign investment), we show in Section 4 that Domar's condition for sustainable foreign investment-namely that the growth rate of foreign lending is higher than the rate of interest-turns out to be equivalent to the condition for Ponzi financing, namely that new foreign borrowings are larger than the repayment of principal and interest for outstanding foreign debts. Section 5 concludes with a short comment on the debt sustainability of the key currency country.

著者

増田 成美 石田 弓

出版者

広島大学大学院教育学研究科附属心理臨床教育研究センター

雑誌

広島大学大学院心理臨床教育研究センター紀要

巻号頁・発行日

no.17, pp.18-33, 2019-03-31

---

These sets of studies aim to demonstrate how inhibiting consulting behavior is a feature of friendship in junior high school students. The first study divided the types of consulting behavior among friends into three groups: a "group to consult friends," a "group without an intention to consult friends," and a "group inhibiting consulting behavior". Next, we examined the features of friendship in each group. Results demonstrate that junior high school students who inhibit consulting behavior are defensive toward their friends and are not confident regarding their opinions and ideas. Moreover, the results demonstrate that the same students do not make proactive efforts to reach a mutual understanding with their friends and that their desire to be loved and develop intimate friendships is low. The second study used Kinetic School Drawing to catalog the impressions and traits of friendship in each type of consulting behavior. The results suggest that junior high school students who inhibit consulting behavior are reluctant to draw scenes that depict mutual contact with friends.

著者

美馬 玉果

出版者

聖心女子大学

雑誌

聖心女子大学大学院論集 = SEISHIN ESSAYS (ISSN:13428683)

巻号頁・発行日

vol.41, no.1, pp.169-192, 2019-07-10

著者

Suka Machi Yamauchi Takashi Yanagisawa Hiroyuki

出版者

Springer Science and Business Media LLC

雑誌

Environmental Health and Preventive Medicine (ISSN:1342078X)

巻号頁・発行日

vol.24, no.1, 2019-05-08

著者

水野 雅司

出版者

学習院大学

雑誌

言語 文化 社会 (ISSN:13479105)

巻号頁・発行日

vol.3, pp.47-60, 2005-03

---

11人の登場人物による35の独白からなる『物乞いたち』は、文学作品の形式的側面に対するデ・フォレの強い関心をその出発点において証言するものであり、後のデ・フォレの探究において重要な位置を占めることになる言語と語る主体との両立不可能性という問題をすでに明確なかたちで主題化している。 小論では、作品を以下の三っの語りの形式的特徴を通して分析することによって、伝統的な心理小説とは一線を画すこの小説の現代性を明らかにする。(1)複数の主観による語り。作品は、その主要な主題の一・っである登場人物の「孤独」を、語りの直接的な内容としてではなく、作品の構造によって規定される複数の視点問の不協和を通して表現している。(2)独白の非時系列な配置。時系列に沿った構成を放棄することによってこの作品は、出来事を時間的な発展のなかで描くのではなく、同一・の構造の異なった水準での反復として、宿命的な力の回帰という相の下に提示する。(3)複数の〈語りの現在〉の共存。それぞれの独白は、異なった時点から過去を回顧しており、固有の時間的厚みを持っている。出来事はさまざまな時間的「遠近法」のアマルガムとして提示される。 こうした形式的特徴は、語りの直接的な意味内容を宙吊りにし、語り手の主観的意図を超えた意味作用を生み出す。また言葉は自己を表現するための手段ではなく、しばしばそれを阻む障害物としてたち現れる。この点において、この小説の語り手たちは、もはや心理的存在ではなく、言語とそれを語る存在との相互排他的関係のなかで規定される主体、フーコー的意味における「モダンな」主体であると言える。

著者

千葉師範附属小学校 著

出版者

第一出版協会

巻号頁・発行日

vol.初等科第6学年, 1941

著者

寺田甲子男著

出版者

白山書房

巻号頁・発行日

1990

著者

モリス・ルブラン 著

出版者

三木書房

巻号頁・発行日

1948

著者

杉山 儀

出版者

名古屋工業大学

巻号頁・発行日

2009-03-23

---

主査:足立 俊明

著者

川畑 俊一郎

出版者

公益社団法人 日本農芸化学会

雑誌

化学と生物 (ISSN:0453073X)

巻号頁・発行日

vol.37, no.10, pp.647-652, 1999-10-25 (Released:2009-05-25)

参考文献数

19