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1 0 0 0 OA 時空間画像を用いた画像特徴量に基づく擬似排便の性状分類

著者: 本多千鶴

2017年度修士論文要旨, 情報科学研究科システム科学専攻

2018-11-27 01:18:47
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http://id.nii.ac.jp/1166/00003618/

1 0 0 0 OA 日本人の英語力の変化とその背景 ─ JGSS累積データを基に─

著者: 小磯かをる
出版者: 大阪商業大学商経学会
雑誌: 大阪商業大学論集 = THE REVIEW OF OSAKA UNIVERSITY OF COMMERCE (ISSN:02870959)
巻号頁・発行日: vol.10, no.4, pp.17-25, 2015-02-10

2018-11-27 01:12:12
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http://id.nii.ac.jp/1297/00000033/

1 0 0 0 OA 不動産工事の先取特権と登記

著者: 川添利賢カワゾエトシカタ Toshikata Kawazoe
雑誌: 立教法務研究
巻号頁・発行日: vol.2, pp.45-62, 2009

2018-11-27 00:43:53
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1 0 0 0 OA 日本語UNIXでの日本語入力方式と新機能 -ローマ字変換と漢字ヒストリ-

著者: 中原康
雑誌: 情報処理学会研究報告ヒューマンコンピュータインタラクション(HCI)
巻号頁・発行日: vol.1983, no.63(1983-HI-014), pp.1-10, 1984-03-15

2018-11-27 00:06:29
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http://id.nii.ac.jp/1001/00037865/

1 0 0 0 OA トピックス2 複数科間の連携によるアレルギー診療 : アトピー性皮膚炎を例として(XII.アレルギー診療とチーム医療,専門医のためのアレルギー学講座)

著者: 小谷信行
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.61, no.12, pp.1709-1718, 2012-12-30 (Released:2017-02-10)
参考文献数: 10

2018-11-27 00:06:15
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1 0 0 0 OA 學校給食の献立

著者: 茶珍俊夫
出版者: 社団法人大阪生活衛生協会
雑誌: 家事と衛生 (ISSN:18836615)
巻号頁・発行日: vol.11, no.3, pp.59-65, 1935-03-01 (Released:2010-10-13)

2018-11-26 23:56:03
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1 0 0 0 OA 台湾における災害展示と民族アイデンティティとの関係

著者: 呂怡屏 Yiping LU ルイーピン
出版者: 総合研究大学院大学文化科学研究科
雑誌: 総研大文化科学研究 = Sokendai review of cultural and social studies (ISSN:1883096X)
巻号頁・発行日: no.13, pp.239-255, 2017-03-31

本稿の目的は、台湾において1999年に生じた大規模な地震である「九二一大地震」の後に作られた「九二一地震教育園区」と、2009年の台風に伴う土砂災害である「八八水害」の後に作られた博物館展示の内容を比較検討することである。前者が自然災害をもたらした環境と文化財への影響に対する意識を高め、後者がさらに台湾における原住民族の課題と深く関わってきたことを明らかにする。これにより、災害に関連して建設された博物館やその展示が、災害という課題だけでなく、地域の住民や民族集団のアイデンティティに影響を与えていく作用を有することを論じる。台湾では、1980年代に社会全体で民主化が進行した。人口の大多数を占める漢族系の住民に対して少数派であったオーストロネシア系の先住民である原住民族の間にも、「人権」、「土地権」、「自治権」、「言語・文化権」などへの意識が高まり、それらの権利回復を目的とする「原住民族運動」が社会運動として生じた。1994年の憲法改正により、原住民族の権利や文化を尊重することが求められるようになり、台湾各地で当地の民族の文化や歴史を展示するための地域原住民族博物館の建設が活発に進められた。1999年9月21日の九二一大地震以後、台湾の博物館は真剣に災害とその影響をテーマとして取り扱うようになった。このような中で、2009年、八八水害による自然的・文化的な被害が生じたことで、九二一大地震が起こった十年後、もう一度災害と人間の関係、そして被災地における文化と生活の再建への関心を人々の間に呼び起した。特に甚大な被害を受けた平埔原住民のシラヤ系タイヴォアン人の文化を再興するため、台湾の公立の博物館は、社会教育および文化保存・伝承を担う機関として、災害救援と文化復興に協力した。その中で、被災した小林村と同じ自治体にある高雄市立歴史博物館は、小林平埔族群文物館が完成するまでの準備と企画に取り組んだ。小林平埔族群文物館の常設展示の企画チームは被災者の意見を取り入れ、村の歴史を踏まえたうえで、昔の小林村の生活を再現することにした。展示の企画立案の過程と、実際に完成した展示は、現地住民の民族的アイデンティティを呼び起こすことに影響を与えたと考えられる。筆者は本論を契機として、開館後の文物館と村民とのコミュニケーション、および展示の中に盛り込まれなかった災害をめぐる経験と記憶の継承のありかたを研究課題として注目し続け、さらなる検証を重ねていきたい。This study focuses on the establishment of museums after natural disasters and the exhibitions held there. Using the exhibitions in Earthquake Museum of Taiwan and Shiaolin Pingpu Cultural Museum as case studies, this paper examines the process of planning exhibitions after natural disasters, while also investigating the construction of ethnic identity among the Pingpu indigenous people.After 1980s, along with the democratization of Taiwan society, indigenous people started to assert their rights, such as human rights, land rights, cultural and linguistic rights, and the right to autonomy. Through these movements, the Taiwanese population became well aware of the issues concerning the rights of indigenous people. In 1994, the rights of the indigenous people were included in Article 10 of Additional Articles of the Constitution of The Republic of China. Following this trend, in the late 1990s, the Council of Indigenous people founded 30 museums exhibiting the culture of the regional indigenous people in order to give a presentation of indigenous culture and history within those local societies.After the 1999 Jiji earthquake, museums in Taiwan started touching upon issues of natural disasters and their impacts. In this period, museums focused on rescuing items of cultural heritage and repairing historical architecture, but did not pay much attention to the relationship between natural disasters and indigenous people. But ten years later, Typhoon Morakot destroyed many towns and took many lives, especially those of the indigenous peoples. It forced the museums to reconsider what the role of the museum was in this case, as an institution of social education. After the typhoon, public museums both near and far from the stricken area have devoted themselves to rescuing items of cultural heritage, and also to helping victims to weather the hard time after the disaster. Furthermore, the government announced its decision to create the Shiaolin Pingpu indigenous museum, to commemorate this disaster and revive the Pingpu culture of Shiaolin village.In creating its permanent exhibition, the Shiaolin Pingpu Cultural Museum listened to and adopted the villagers’ suggestions, as well as using regional history to offer a representation of the lifestyle in Shiaolin Village in the past. Through this process, we are able to observe the gradual formation of ethnic identity of the Pingpu people in Shiaolin Village. The next challenge for the Shiaolin Pingpu Cultural Museum is to interact more with the local residents, and to record narratives about the disaster which are not included in the permanent exhibition.

2018-11-26 23:48:44
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http://id.nii.ac.jp/1013/00005224/

1 0 0 0 OA 大里郡神社誌

著者: 埼玉県神職会大里郡支会編
出版者: 埼玉県神職会大里郡支会
巻号頁・発行日: 1930

2018-11-26 23:42:41
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1 0 0 0 OA 米国における音楽カリキュラム改革(Ⅰ)-60年代以降の動向をめくって-

著者: 千成俊夫
出版者: 奈良教育大学
雑誌: 奈良教育大学紀要. 人文・社会科学 (ISSN:05472393)
巻号頁・発行日: vol.33, no.1, pp.87-107, 1984-11-26

Contmporary society is changing fundamentally and rapidly. We feel it is changing so fundamentally and rapidly that we have difficulty fitting ourselves into the present and projecting ourselves into the future. We, as educators, take on a responsibility that make children grow up in all aspects and help them live in the future. For the sake of fulfilling our such responsibility, it is always important for educators to be aware of international recent developments and trends in education. From the beginning of public school education to the present, Japanese music education has been owed the United States of America a great many things. Especially after World War II, we have to say its influence is very prominent. It may be said that the contemporary period of music education in the United States have begun in 1957. In that year the Ford Foundation began to explore the relationship of the arts and American society. The Music Educators National Conferrenc submitted a proposal to the Ford Foundation that a project about curricula innovation of music education, named the Contemporary Music Project for Creativity in Music Education be inaugurated. In 1963 the Ford Foundation accepted the proposal, and since then until today various projects have been started. There are various differences between music education in America and Japan, and therefore it is difficult to make many problems which have been taking place one after another in American music education clear. But we will be able to get many important informations from the movements of music curricula innovation in the United States. Curriculum is the structure and sequence of learning experiences in formalized instructional settings. Its immediate problem is the quality, content, and organization of in school learning experiences. We, as music teachers, have to arrange curricular experiences in music. We manage instruction and manipulate the learning enviroment for optimum achievement of predefined objectives. The intent of this study is to give essential suggestions which help us make better music education curriculum in Japan of today. The study divides into three parts. Part one, this treatise, presents an overview of the music curricula innovation movements of the United States concerning the period from the 1960s to the present. Part two, the next treatise, explores the contents and teaching methods of music education being related to the music curricula innovations. As the results of two prestudies Part three, the final treatise, will present the concrete suggestion for building music instructional programs.