著者

Masahiro KORENAGA Shunroku YAMAMOTO Shunta NODA Shin AOI

出版者

Railway Technical Research Institute

雑誌

Quarterly Report of RTRI (ISSN:00339008)

巻号頁・発行日

vol.60, no.2, pp.134-139, 2019-05-01 (Released:2019-05-26)

参考文献数

9

被引用文献数

4

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This article explains processes for improving the railway earthquake early warning system. These processes were introduced to use data transmitted in real time from recently developed ocean bottom seismic networks. Three mechanisms were designed to be able to exploit this data: 1) an algorithm for servers in OBS system base stations; 2) a procedure to allow transmissions between the servers and railway company receivers; and 3) a system built into the receiver to determine whether running trains need to be stopped or not. Confirmation was obtained that the proposed processes were able to reduce the risks to railways from earthquakes, because they are capable of extending the lead time before the arrival of strong seismic motion.

著者

遠藤 祥雄

出版者

東洋大学文学部英語コミュニケーション学科

雑誌

dialogos (ISSN:13463101)

巻号頁・発行日

no.4, pp.53-66, 2004-03

著者

出来 成訓

出版者

日本英語教育史学会

雑誌

日本英語教育史研究 (ISSN:0916006X)

巻号頁・発行日

vol.5, pp.1-22, 1990-05-01 (Released:2012-10-29)

著者

久保田万太郎, 長田秀雄, 秋田雨雀 著

出版者

アルス

巻号頁・発行日

vol.下, 1928

著者

大野 聖子 佐藤 敬子 片岡 恵子 田中 結美 小原 優子 野田 あゆみ 小島 広美 細見 博子

出版者

日本環境感染学会

雑誌

環境感染 (ISSN:09183337)

巻号頁・発行日

vol.15, no.3, pp.264-268, 2000-08-23

参考文献数

8

被引用文献数

2

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1995年と96年の公務災害に申請された針刺し・切創事故をEPINet日本語版を用いて解析を行った.それに基づき携帯型針捨て容器の導入, 病棟で使用する滅菌処置セットに滅菌済みの膿盆を組み込むこと, ゴム栓よりの真空採血用にルアーアダプターを採用などの改善を行った.原因器材としてディスポの注射器針, 翼状針, 留置針, 真空採血針の全体に占める割合は2年平均14件全体の65%から6件30%に減少した.携帯型針捨て容器はコスト的にも100床あたり月5000円程度で一般病院でもまず試みうる対策と考えた.

著者

関根 裕子

雑誌

演劇研究センター紀要II 早稲田大学21世紀COEプログラム 〈演劇の総合的研究と演劇学の確立〉

巻号頁・発行日

vol.2, pp.33-41, 2004-01-31

著者

北尾〔ケイ〕斎政美<北尾政美>//〔画〕

出版者

吉野屋為八〔ほか〕

巻号頁・発行日

1787

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北尾政美(鍬形蕙斎)の京都名所絵本。1巻。天明7年(1787)正月、京都吉野屋為八、江戸前川六左衛門、同長島利助刊。特大本1冊。万象亭(森島中良)の序を添える。すべて半丁絵から成り、半丁毎に切り離して鑑賞することも可能。名所は加茂、高雄山神護寺、茸狩、愛宕山、金閣寺、嵐山・法輪寺・渡月橋、四条、大文字、五条橋、音羽山清水寺、大仏殿、竜安寺。各図に小書きで地名、解説、和歌などを記す。体裁は名所図会に近い。細密描写による景観図で、より正確な描出を心掛けたためか、全体に静的な印象があり、政美の個性はあまり感じられない。上方の名所図会を多く手懸けた吉野屋為八が板元の一人として名を連ねる。書型や序及び奥付に薄墨を使用するのは、『画本宝能縷』と同じ傾向である。(鈴木淳)

著者

吉田 美風

出版者

日本人類学会

雑誌

人類學雜誌 (ISSN:00035505)

巻号頁・発行日

vol.31, no.4, pp.136-147, 1916-04-25 (Released:2010-06-28)

著者

水島 あかね 小代 薫

出版者

明石工業高等専門学校

雑誌

基盤研究(C)

巻号頁・発行日

2014-04-01

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本研究は、最後の三田藩主・九鬼隆義及び志摩三商会の社員だった元三田藩士らに着目し、彼らが近代神戸の都市形成に与えた影響について考察することを目的とする。“神戸ホーム(現神戸女学院)”など多くの教育施設に九鬼隆義や志摩三商会の社員が関わっていたことを明らかにした。また法務局保管の旧土地台帳や字限図などを用いて、明治期に志摩三商会及びその社員らが所有していた土地や彼らが設立に関わっていた教育施設の分布図を作成した。

著者

楠 正和 百武 大志 田中 芳征

出版者

公益社団法人 日本理学療法士協会

雑誌

理学療法学Supplement Vol.44 Suppl. No.2 (第52回日本理学療法学術大会 抄録集)

巻号頁・発行日

pp.1765, 2017 (Released:2017-04-24)

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【はじめに】近年リハビリテーションにおけるレセプト減額査定が増加している。平成27年度,福岡県理学療法士会の減点査定調査結果によると,年齢により一律に減額査定されている傾向があり,特に80歳以上が6単位を超える単位数を「過剰」という理由で減額査定されている。また平成28年より,回復期リハビリテーション病棟(以下回復期病棟)では,アウトカム評価を実績指数で表し27未満の場合に,6単位を超える介入が入院料に包括される事となった。そこで本研究は,80歳以上の患者に対する6単位を超える介入が,80歳未満の患者と同等の効果があるのか,アウトカム評価である実績指数を用いて比較検討をおこなった。【方法】対象は当院回復期病棟を2013年4月1日~2014年3月31日までに退棟した351名のうち,算定区分が脳血管疾患のもの113名と運動器疾患のもの160名とした。除外基準は在棟中の死亡患者,回復期病棟対象外患者とした。後方視的に診療録から,年齢,1日あたりの単位数,FIM(入棟・退棟・利得),在棟日数を収集した。また,実績指数と,その計算式の分子に当たる運動項目FIM利得(以下m-FIM利得),分母にあたる算定上限日数比(在棟日数を回復期病棟入院料の算定上限日数で除した値)を患者あたりにて算出した。疾患別の対象を80歳以上と80歳未満の2群にわけ,各項目の比較検討をおこなった。統計解析にはSPSS ver16を使用し,Mann-Whitney U検定とχ2検定にて検討した。有意水準は5%未満とした。【結果】脳血管疾患:80歳以上/80歳未満(対象:50/63名,年齢:85.6/70.9歳(p<0.05),1日あたりの単位数:7.10/7.25単位,入棟FIM:58.1/78.9点(p<0.05),退棟FIM:75.5/104.4点(p<0.05),FIM利得:18.7/25.1点,在棟日数:43.2/49.4日,m-FIM利得:14.4/20.9点(p<0.05),算定上限日数比:0.27/0.31,実績指数:65.4/94.1)運動器疾患:80歳以上/80歳未満(対象:104/56名,年齢:87.4/65.6歳(p<0.05),1日あたりの単位数:6.51/6.85単位(p<0.05),入棟FIM:71.8/96.5点(p<0.05),退棟FIM:89.9/111.6点(p<0.05),FIM利得:18.1/15.2点,在棟日数:34.6/28.5日(p<0.05),m-FIM利得:16.6/13.4点,算定上限日数比:0.38/0.32(p<0.05),実績指数:56.6/54.4)【結論】脳血管疾患と運動器疾患は共に,実績指数に有意差はみられなかったことから,80歳以上の患者であっても,80歳未満の患者と同等の改善効果があることが示唆された。80歳以上の患者は実績指数が27を大きく超えており,平成28年の回復期病棟連絡協議会における全国平均データ(脳血管:FIM利得17.7,在棟日数88.2,運動器:FIM利得17.2,在棟日数56.7)においても,上回る成績であった。これらのことから,80歳以上の患者の6単位を超える介入は過剰ではなく,年齢で一律に減額査定されるべきではないと考える。

著者

石井 智美 森 ゆうこ 萩原 克郎

出版者

酪農学園大学

雑誌

酪農学園大学紀要. 自然科学編

巻号頁・発行日

vol.41, no.1, pp.77-83, 2016-10

著者

YUTAKA KUNIMATSU YOSHIHIRO SAWADA TETSUYA SAKAI MOTOTAKA SANEYOSHI HIDEO NAKAYA AYUMI YAMAMOTO MASATO NAKATSUKASA

出版者

The Anthropological Society of Nippon

雑誌

Anthropological Science (ISSN:09187960)

巻号頁・発行日

pp.170126, (Released:2017-04-29)

被引用文献数

2

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The African primate fossil record is very poor between the mid-Middle and mid-Late Miocene. Nakali (~10–9.8 Ma) is one of the rare African localities that have yielded primate fossils from this period, including a new genus of great ape, Nakalipithecus nakayamai, and another large-bodied hominoid species. The Nakali primate fauna also includes small-bodied ‘apes’ and Old World monkeys (mostly colobines). In this article, we describe a new specimen of a small-bodied ‘ape’ discovered from Nakali, which is assigned to nyanzapithecines. Nyanzapithecines are characterized by their derived dental morphology, and the previously known nyanzapithecines range in chronological age between the Late Oligocene and early Middle Miocene (~25–13.7 Ma). The new nyanzapithecine specimen from Nakali is therefore the latest occurrence of this group in the African fossil record, extending its chronological range by almost 4 million years younger.

著者

清水 まさ志

出版者

宮崎大学教育文化学部

雑誌

宮崎大学教育文化学部紀要. 人文科学 (ISSN:13454005)

巻号頁・発行日

no.33, pp.33-46, 2016-03

著者

丸崎 恒司 津田 和彦

出版者

人工知能学会

雑誌

2018年度人工知能学会全国大会(第32回)

巻号頁・発行日

2018-04-12

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近年,企業の特許戦略が量から質へと変換しつつあること,企業間の特許係争が増加傾向であることを受け,不要な特許出願の抑制や,競合他社の保有する特許の無効化のため,特許調査の需要はますます増え続けている.中でも外国特許調査の需要は高い. これらの特許調査においては,漏れのない調査のために,調査対象となる発明に関連した用語のみならず,その同義語や上位概念あるいは下位概念の用語を検索語として調査することが一般的である.よって,特許文書に特有の上位概念化・抽象化した用語を網羅した同義語辞書を作成することができれば,特許調査における最適な検索語の抽出や,類似文書の自動抽出ツールにおける精度向上などに有益と考えられる. そこで本研究では,欧州特許出願のEuropean Patent publication,European Patent Specificationから自動的に英文の同義語辞書を構築する方法を提案する.

著者

石塚 正英

出版者

特定非営利活動法人 頸城野郷土資料室

雑誌

頸城野郷土資料室学術研究部研究紀要 (ISSN:24321087)

巻号頁・発行日

vol.2018, no.37, pp.1-2, 2018 (Released:2019-04-20)

著者

北迫 勇一 高垣 智博 池田 正臣 田上 順次

出版者

特定非営利活動法人 日本歯科保存学会

雑誌

日本歯科保存学雑誌 (ISSN:03872343)

巻号頁・発行日

vol.60, no.6, pp.282-288, 2017 (Released:2018-01-09)

参考文献数

20

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目的 : 酸蝕症の疫学調査から歯間清掃に関するアンケート調査結果を抽出し, 各世代における歯間清掃用具 (デンタルフロスおよび歯間ブラシ) の使用頻度について, 歯間清掃を始めた動機づけ要因も含め比較検討を試みた.  材料と方法 : 本研究趣旨に同意が得られた被験者1,108名のうち, アンケートに対しすべて回答した969名分 (15~89歳, 平均年齢48.4歳, 男性494名, 女性475名) を対象として, 酸蝕症の疫学調査における口腔衛生状況に関する質問事項として, デンタルフロスおよび歯間ブラシの使用有無 (有の場合はその頻度 : 常時または時々) ならびに歯間清掃を始めた動機づけ要因について調査した. 被験者全員を, 10~20代, 30代, 40代, 50代, 60代および70~80代の6世代に分類し, 同アンケート結果の世代間における比較検討を試みた.  結果 : 全世代における歯間清掃用具の使用頻度は, デンタルフロスの常時使用が30%, 歯間ブラシでの常時使用が28%であった. また, 各世代における同使用頻度について 「常時+時々」 と 「未使用」 を比較した場合, デンタルフロスでは60代が40代を除くほかの世代に比べその使用頻度が高く, 歯間ブラシでは50~80代が10~40代に比べその使用頻度が高かった (p<0.05). また, 同使用頻度について 「常時」 と 「時々+未使用」 を比較した場合は, デンタルフロスでは60代が10~30代に比べ 「常時」 使用している割合が高く, 歯間ブラシでは50~80代が10~40代に比べ 「常時」 使用している割合が高かった (p<0.05). さらに, 歯間清掃を始めた動機づけ要因は, 30代を除くすべての世代において歯科医院からの推奨で開始したと回答する割合が半数以上を占め, 30代ではその割合が低かった (p<0.05).  結論 : 歯間清掃用具の使用頻度は, デンタルフロスで世代間の明確な差を認めなかったのに対し, 歯間ブラシは年齢が増すごとに明らかに使用頻度が増加する傾向を示した. 歯間清掃を始めた動機づけとして, 多くの世代において 「歯科医院からの推奨」 が寄与していることが示唆された.

著者

中島 淑恵

出版者

富山大学附属図書館

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テーマ:幽霊の話※引用資料,参考資料については,下方の「関連URI」にリンクがあります。【資料1】===================================Glimpses of Unfamilar Japan: Second Series by Lafcadio HearnChapter Six, By the Japanese SeaNow, as a rule, one sleeps soundly after having drunk plenty of warmsake, especially if the night be cool and the bed very snug. But theguest, having slept but a very little while, was aroused by the sound ofvoices in his room--voices of children, always asking each other thesame questions:--'Ani-San samukaro?' 'Omae samukaro?' The presence ofchildren in his room might annoy the guest, but could not surprise him,for in these Japanese hotels there are no doors, but only paperedsliding screens between room and room. So it seemed to him that somechildren must have wandered into his apartment, by mistake, in the dark.He uttered some gentle rebuke. For a moment only there was silence; thena sweet, thin, plaintive voice queried, close to his ear, 'Ani-Sansamukaro?' (Elder Brother probably is cold?), and another sweet voicemade answer caressingly, 'Omae samukaro?' [Nay, thou probably art cold?]He arose and rekindled the candle in the andon, [6] and looked about theroom. There was no one. The shoji were all closed. He examined thecupboards; they were empty. Wondering, he lay down again, leaving thelight still burning; and immediately the voices spoke again,complainingly, close to his pillow:'Ani-San samukaro?''Omae samukaro?'Then, for the first time, he felt a chill creep over him, which was notthe chill of the night. Again and again he heard, and each time hebecame more afraid. For he knew that the voices were in the futon! Itwas the covering of the bed that cried out thus.He gathered hurriedly together the few articles belonging to him, and,descending the stairs, aroused the landlord and told what had passed.Then the host, much angered, made reply: 'That to make pleased thehonourable guest everything has been done, the truth is; but thehonourable guest too much august sake having drank, bad dreams hasseen.' Nevertheless the guest insisted upon paying at once that which heowed, and seeking lodging elsewhere.Next evening there came another guest who asked for a room for thenight. At a late hour the landlord was aroused by his lodger with thesame story. And this lodger, strange to say, had not taken any sake.Suspecting some envious plot to ruin his business, the landlord answeredpassionately: 'Thee to please all things honourably have been done:nevertheless, ill-omened and vexatious words thou utterest. And that myinn my means-of-livelihood is--that also thou knowest. Wherefore thatsuch things be spoken, right-there-is-none!' Then the guest, gettinginto a passion, loudly said things much more evil; and the two parted inhot anger.But after the guest was gone, the landlord, thinking all this verystrange, ascended to the empty room to examine the futon. And whilethere, he heard the voices, and he discovered that the guests had saidonly the truth. It was one covering--only one--which cried out. The restwere silent. He took the covering into his own room, and for theremainder of the night lay down beneath it. And the voices continueduntil the hour of dawn: 'Ani-San samukaro?' 'Omae samukaro?' So that hecould not sleep.But at break of day he rose up and went out to find the owner of thefuruteya at which the futon had been purchased. The dlealer knewnothing. He had bought the futon from a smaller shop, and the keeper ofthat shop had purchased it from a still poorer dealer dwelling in thefarthest suburb of the city. And the innkeeper went from one to theother, asking questions.Then at last it was found that the futon had belonged to a poor family,and had been bought from the landlord of a little house in which thefamily had lived, in the neighbourhood of the town. And the story of thefuton was this:--The rent of the little house was only sixty sen a month, but even thiswas a great deal for the poor folks to pay. The father could earn onlytwo or three yen a month, and the mother was ill and could not work; andthere were two children--a boy of six years and a boy of eight. And theywere strangers in Tottori.One winter's day the father sickened; and after a week of suffering hedied, and was buried. Then the long-sick mother followed him, and thechildren were left alone. They knew no one whom they could ask for aid;and in order to live they began to sell what there was to sell.That was not much: the clothes of the dead father and mother, and mostof their own; some quilts of cotton, and a few poor household utensils--hibachi, bowls, cups, and other trifles. Every day they sold something,until there was nothing left but one futon. And a day came when they hadnothing to eat; and the rent was not paid.The terrible Dai-kan had arrived, the season of greatest cold; and thesnow had drifted too high that day for them to wander far from thelittle house. So they could only lie down under their one futon, andshiver together, and compassionate each other in their own childish way--'Ani-San, samukaro?' 'Omae samukaro?'They had no fire, nor anything with which to make fire; and the darknesscame; and the icy wind screamed into the little house.They were afraid of the wind, but they were more afraid of the house-owner, who roused them roughly to demand his rent. He was a hard man,with an evil face. And finding there was none to pay him, he turned thechildren into the snow, and took their one futon away from them, andlocked up the house.They had but one thin blue kimono each, for all their other clothes hadbeen sold to buy food; and they had nowhere to go. There was a temple ofKwannon not far away, but the snow was too high for them to reach it. Sowhen the landlord was gone, they crept back behind the house. There thedrowsiness of cold fell upon them, and they slept, embracing each otherto keep warm. And while they slept, the gods covered them with a newfuton--ghostly-white and very beautiful. And they did not feel cold anymore. For many days they slept there; then somebody found them, and abed was made for them in the hakaba of the Temple of Kwannon-of-the-Thousand-Arms.And the innkeeper, having heard these things, gave the futon to thepriests of the temple, and caused the kyo to be recited for the littlesouls. And the futon ceased thereafter to speak.【資料2】===================================Glimpses of Unfamilar Japan: First Series by Lafcadio HearnChapter Nine, In the Cave of the Children's Ghosts, Sec. 6From the caves of the Kami we retrace our course for about a quarter ofa mile; then make directly for an immense perpendicular wrinkle in thelong line of black cliffs. Immediately before it a huge dark rock towersfrom the sea, whipped by the foam of breaking swells. Rounding it, weglide behind it into still water and shadow, the shadow of a monstrouscleft in the precipice of the coast. And suddenly, at an unsuspectedangle, the mouth of another cavern yawns before us; and in anothermoment our boat touches its threshold of stone with a little shock thatsends a long sonorous echo, like the sound of a temple drum, boomingthrough all the abysmal place. A single glance tells me whither we havecome. Far within the dusk I see the face of a Jizo, smiling in palestone, and before him, and all about him, a weird congregation of greyshapes without shape--a host of fantasticalities that strangely suggestthe wreck of a cemetery. From the sea the ribbed floor of the cavernslopes high through deepening shadows back to the black mouth ofa farther grotto; and all that slope is covered with hundreds andthousands of forms like shattered haka. But as the eyes grow accustomedto the gloaming it becomes manifest that these were never haka; theyare only little towers of stone and pebbles deftly piled up by long andpatient labour.'Shinda kodomo no shigoto,' my kurumaya murmurs with a compassionatesmile; 'all this is the work of the dead children.'And we disembark. By counsel, I take off my shoes and put on a pairof zori, or straw sandals provided for me, as the rock is extremelyslippery. The others land barefoot. But how to proceed soon becomes apuzzle: the countless stone-piles stand so close together that no spacefor the foot seems to be left between them.'Mada michiga arimasu!' the boatwoman announces, leading the way. Thereis a path.Following after her, we squeeze ourselves between the wall of the cavernon the right and some large rocks, and discover a very, very narrowpassage left open between the stone-towers. But we are warned to becareful for the sake of the little ghosts: if any of their work beoverturned, they will cry. So we move very cautiously and slowly acrossthe cave to a space bare of stone-heaps, where the rocky floor iscovered with a thin layer of sand, detritus of a crumbling ledge aboveit. And in that sand I see light prints of little feet, children's feet,tiny naked feet, only three or four inches long--the footprints of theinfant ghosts.Had we come earlier, the boatwoman says, we should have seen many more.For 'tis at night, when the soil of the cavern is moist with dews anddrippings from the roof, that They leave Their footprints upon it; butwhen the heat of the day comes, and the sand and the rocks dry up, theprints of the little feet vanish away.There are only three footprints visible, but these are singularlydistinct. One points toward the wall of the cavern; the others towardthe sea. Here and there, upon ledges or projections of the rock, allabout the cavern, tiny straw sandals--children's zori--are lying:offerings of pilgrims to the little ones, that their feet may not bewounded by the stones. But all the ghostly footprints are prints ofnaked feet.Then we advance, picking our way very, very carefully between thestone-towers, toward the mouth of the inner grotto, and reach the statueof Jizo before it. A seated Jizo carven in granite, holding in one handthe mystic jewel by virtue of which all wishes may be fulfilled; in theother his shakujo, or pilgrim's staff. Before him (strange condescensionof Shinto faith!) a little torii has been erected, and a pair of gohei!Evidently this gentle divinity has no enemies; at the feet of the loverof children's ghosts, both creeds unite in tender homage.I said feet. But this subterranean Jizo has only one foot. The carvenlotus on which he reposes has been fractured and broken: two greatpetals are missing; and the right foot, which must have rested upon oneof them, has been knocked off at the ankle. This, I learn upon inquiry,has been done by the waves. In times of great storm the billows rushinto the cavern like raging Oni, and sweep all the little stone towersinto shingle as they come, and dash the statues against the rocks.But always during the first still night after the tempest the work isreconstructed as before!Hotoke ga shimpai shite: naki-naki tsumi naoshi-masu.' They makemourning, the hotoke; weeping, they pile up the stones again, theyrebuild their towers of prayer.All about the black mouth of the inner grotto the bone-coloured rockbears some resemblance to a vast pair of yawning jaws. Downward fromthis sinister portal the cavern-floor slopes into a deeper and darkeraperture. And within it, as one's eyes become accustomed to the gloom, astill larger vision of stone towers is disclosed; and beyond them, in anook of the grotto, three other statues of Jizo smile, each one witha torii before it. Here I have the misfortune to upset first onestone-pile and then another, while trying to proceed. My kurumaya,almost simultaneously, ruins a third. To atone therefore, we must buildsix new towers, or double the number of those which we have cast down.And while we are thus busied, the boatwoman tells of two fishermen whoremained in the cavern through all one night, and heard the hummingof the viewless gathering, and sounds of speech, like the speech ofchildren murmuring in multitude.Only at night do the shadowy children come to build their littlestone-heaps at the feet of Jizo; and it is said that every night thestones are changed. When I ask why they do not work by day, when thereis none to see them, I am answered: 'O-Hi-San [2] might see them; thedead exceedingly fear the Lady-Sun.'To the question, 'Why do they come from the sea?' I can get nosatisfactory answer. But doubtless in the quaint imagination of thispeople, as also in that of many another, there lingers still theprimitive idea of some communication, mysterious and awful, between theworld of waters and the world of the dead. It is always over the sea,after the Feast of Souls, that the spirits pass murmuring back to theirdim realm, in those elfish little ships of straw which are launched forthem upon the sixteenth day of the seventh moon. Even when these arelaunched upon rivers, or when floating lanterns are set adrift uponlakes or canals to light the ghosts upon their way, or when a motherbereaved drops into some running stream one hundred little prints ofJizo for the sake of her lost darling, the vague idea behind the piousact is that all waters flow to the sea and the sea itself unto the'Nether-distant Land.'Some time, somewhere, this day will come back to me at night, withits visions and sounds: the dusky cavern, and its grey hosts of stoneclimbing back into darkness, and the faint prints of little naked feet,and the weirdly smiling images, and the broken syllables of the watersinward-borne, multiplied by husky echoings, blending into one vastghostly whispering, like the humming of the Sai-no-Kawara.And over the black-blue bay we glide to the rocky beach of Kaka-ura.【資料3-1】===================================On Poetry(帝国大学の講義録), pp. 124-128CHAPTER VIIIEPIGRAMMATIC POEMSTHE lecture last given in this class was of necessity a littleheavy. By way of change, I propose this term to give afew shorter and lighter lectures-the first of which will beupon the subject of epigrammatic poetry with especial referenceto correspondencies in English and Japanese poetry.Let us first take the word " epigrammatic " and consider itshistory. I need scarcely tell you that the word is Greek inorigin and signifies a " writing upon " - a surface especially.An epigram originally was a combination intended to be-inscribed upon a surface : -the original meaning was thereforean inscription. And the original inscription, in veryancient times w as probably of a funeral kind : we m ay supposethat the first compositions of the sort were inscriptionsupon tombstones- epitaphs.Any inscription intended for the surface of a monument,unless the monument should happen to be a very large one,would have to be of small size. It would be necessary tosay as much as possible in a very few words. Accordinglya great deal of art, literary art, would be required for effective work of this kind. The art of saying great things invery few words is the art of high poetry.Now we find that this was just how the old Greeksunderstood and practised the art of short poems intendedfor inscription upon tombstones or monuments or marblealtars of their gods. It was required for such work that thewriter should be able to bestir an emotion very deeply, or toutter a thought very profoundly, or to make a religiouspetition very beautifully,-all in the space of a few lines.Afterwards this art of short poetry was applied to a much124larger variety of subjects ; but it was still called by the ancientname. After the Greeks, the Romans took up this art, andwrote thousands of epigrams. But they never did quite sowell as t he Greeks ; and the most precious poetry of thiskind in the Western world still are the thousands of epigramsforming the bulk of what is called " The Greek Anthology "consistingof epitaphs, votive inscriptions (for altars andofferings to the gods), inscriptions for presents made tofriends, poems written in time of joy and sorrow, love poems,inscriptions probably used for the decoration of apartmentsor guest-chambers (much as Chinese texts are used in Japan),and a vast number of tiny gems of verse on a variety ofsubjects, ranging from jest to philosophy.From the list of subjects just given, you may be remindedof subjects to which the shorter forms of Japanese poetryare commonly devoted ; and the suggestion is worth remembering.In order to do full justice to Japanese poetry,-.in order to understand its real worth and rank in the rangeof world literature,- it is very much to be hoped that somebodywill sooner or later attempt a proper comparison ofJapanese and Greek verse. I do not think that Greek scholarshipis at all necessary for such an undertaking-though itwould be useful. " The Greek Anthology " has been veryextensively and very carefully translated into every Europeanlanguage of importance. Japanese scholars should be carefulto read not the metrical ones. Probably the German workis the best ; but there are very beautiful French studies andEnglish studies also on the subject.So much for the meaning of epigram. Epigrammaticpoetry, you see, is an ancient rather than a modern art ; andepigrammatic poetry of English literature, which is scanty,is not very old. But there is quite enough of it for our presentpurpose. Let us now speak about those forms of Japaneseverse which might be compared with the various formsof epigrammatic poetry in Western literature.You have the form called tanka, consisting of thirty-onesyllables, -suitable for serious subjects ; -you have the haikai,126 consisting of seventeen syllables-suitable to an immense varietyof subjects : -you have the dodoitsu, consisting of twenty-sixsyllables and usually devoted to love subjects. All these formsmay justly be called epigrammatic poetry ; and parallels forthem can be found in English literature, as well as in Greek.Remember that we need not trouble ourselves while makingthis comparison about the mere matter of form in detail.Whether the verse be measured, as in Greek, by quantity,or as in English, by accents, the form need not concern usat all except in regard to brevity. We may dismiss it as amere fashion of language from present consideration. Butthe spirit of the short poetry- the intellectual and emotionalrequirements of it-those we must consider, and we shallfind that they are the same, or nearly the same, in the Eastas well as in the West. You, much better than I, know therules about the sentiment to be expressed in the three formsof Japanese poetry which are really epigrammatic. I neednot therefore attempt to say much about them. But we shallfind that in English epigrammatic poetry, as in Japanese, itis the rule that the little verse should express or suggest asingle emotion or idea in a powerful or clever way. However,as I said before, Greek verse offers better material forcomparison. As ・ this is only a class of English literature,nevertheless, an attempt to lecture on Greek epigrams wouldbe quite out of place, and I shall make one comparison byway of illustration. The subj ect is an epitaph, composedprobably about 2500 years ・ago for the grave of a little boycalled Diodorus (Zonas of Sardis) : -" Do thou, who rawest the boat of the dead in the waterof this lake, full of reeds, for Hades, having a painful task,stretch out, dark Charon, thy hand to the son of Cinyras,as he mounts on the ladder by the gang-way, and receivehim. For his sandals will cause the lad to slip about ; andhe fears to put his feet naked on the sand of the shore. "There could not have been any relation between theGreek fancy of the time of that inscription, and the Japanesefancy of the eighth century. But some time between the years127700 and 750 the Japanese poet, Okura, made a verse aboutthe death of his little son Furuhi which is strangely like theGreek epigram. The form is tanka, and I suppose you allknow the original text, * which I have tried to render asfollows :-" So young he is that he cannot know the way. To themessenger of the Underworld I will give a bribe, and entreathim , saying : - ' Do thou kindly take the little one upon thyback along the road."This is the beautiful serious form of an epigram ; andmodern Western epigrams are best when they are serious.Considering these verses I shall begin a series of quotations,and those of you who love poetry will probably be able tofind in old Japanese poetry the parallel for every citation Iam able to offer.【資料3-2】===================================『万葉集』男子名は古日(ふるひ)を恋ふる歌三首 長一首、短二首 世の人の 貴み願ふ 七種(くさ)の 宝も吾は 何せむに 願ひ欲(ほり)せむ 我が中の 生れ出でたる 白玉の 我が子古日は 明星(あかぼし)の 明くる朝(あした)は 敷細(しきたへ)の 床の辺去らず 立てれども 居れども共に 掻き撫でて 言問ひ戯(たは)れ 夕星(ゆふづつ)の 夕べになれば いざ寝よと 手を携はり 父母も うへはな離(さか)り 三枝(さきくさ)の 中にを寝むと 愛(うるは)しく しが語らへば いつしかも 人と成り出でて 悪しけくも 吉けくも見むと 大船の 思ひ頼むに 思はぬに 横様(よこしま)風の にはかにも 覆ひ来たれば 為むすべの たどきを知らに 白妙の たすきを掛け 真澄鏡 手に取り持ちて 天つ神 仰(あふ)ぎ祈(こ)ひ祷(の)み 国つ神 伏して額づき かからずも かかりもよしゑ 天地の 神のまにまと 立ちあざり 我が祈ひ祷めど しましくも 吉けくはなしに 漸々(やうやう)に かたちつくほり 朝な朝(さ)な 言ふことやみ 玉きはる 命絶えぬれ 立ち躍り 足すり叫び 伏し仰ぎ 胸打ち嘆き 手に持たる 吾(あ)が子飛ばしつ 世間の道(904)反歌 若ければ道行き知らじ賄(まひ)はせむ下方(したへ)の使負ひて通らせ(905) 布施置きて吾は祈ひ祷む欺かず直(ただ)に率(ゐ)行きて天道知らしめ(906)【資料3-3】===================================ヘルン文庫:書架番号[933]Chamberlain, Basil Hall.The classical poetry of the Japanese / [B. H. Chamberlain] - London: Trübner, 1880. - xii,227 p.; 22 cm. - (Trübner's Oriental series)

著者

慶應義塾大學通信教育部

出版者

慶應通信教育圖書

巻号頁・発行日

1948

著者

[芳年], [年方] [畫]

出版者

[製作者不明]

巻号頁・発行日

1000

著者

金澤 優太 西本 一志

出版者

情報処理学会

雑誌

情報処理学会研究報告.EC, エンタテインメントコンピューティング (ISSN:21888914)

巻号頁・発行日

vol.2017, no.11, pp.1-7, 2017-03-03

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動画投稿サイトに見られる「弾いてみた動画」を楽器演奏の練習に活用している事例は多い.しかし,ほとんどの動画投稿サイトでの検索結果は,平均再生時間や「いいね」の数などに基づいて順位づけられており,演奏技術レベルに基づく順位付けになっていないため,自分に適したレベルの弾いてみた動画を探すことが容易ではない.そこで本研究では,動画投稿サイトに投稿された「弾いてみた動画」の技術レベルを集合的に順位付けし,各楽器演奏練習者がそれぞれのレベルに応じた動画を探しやすくする手法を提案する.これにより,楽器練習の継続意欲を維持することができるようにすることを目指す.本稿では,提案手法の基本的動作を確かめるために,シミュレーション実験を実施し,その動作を確認した.また試用実験では,ユーザが自分にあったお手本動画を得るまでの工程を,提案システムによる順位付けを用いた場合と,動画サイトによる標準的順位付けとで比較した.その結果,提案システムの有用性が示唆された. : Many people practice musical instruments using "Me Playing" movies on such as YouTube. However, in most of the web sites, the movies are sorted based on view count and number of "nice"; not sorted by the skill levels. Therefore, it is not easy to find movies whose skill level is suitable for a user. This paper proposes a method for collectively ranking "Me Playing" movies for people who are studying how to play musical instruments to find suitable movies for their skill levels. In order to investigate the effectiveness of the proposed method, we conducted simulation experiments. In addition, we conducted user studies in which subjects are required to find suitable movies by using the ranking results obtained by our proposed system and by a typical movie site. By comparing the results, it is suggested that our proposed method is useful.