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Revisiting Compositions of Binary Solutions and Their Interconversion Equations, Part 1 ーInterconversions of Compositions among Concentrations, Contents, Fractions, and Ratiosー
Get PDF本研究では、二成分系溶液の様々な組成を3種類の示強性量に分類した。これらの量は、溶質の示量性量を、（1）溶液の示量性量、（2）溶質と溶媒の示量性量の和、および、（3）溶媒の示量性量で除すことで得られる。そして、濃度、コンテント、分率、および比に関する相互変換について系統的に検討した。濃度については、モル濃度（物質量濃度）、数濃度、質量濃度、体積濃度、コンテントについては、モルコンテント（物質量コンテント）、数コンテント、体積コンテント、分率については、モル分率（物質量分率）、質量分率、体積分率、比については、モル比（物質量比）、質量比、体積比に関する相互変換式を誘導し、得られた結果を表に整理した。エタノールの質量分率が0.500のエタノール水溶液を例にして、この中のエタノールの種々の組成を定義と相互変換式から算出したところ、両者は完全に一致した。組成の相互変換式は単純かつ平易であり、溶液科学の議論に有用である。In this study, we have classified various compositions of binary solutions into three intensive properties.These compositions are obtained from dividing the extensive properties of solute by the extensive properties of (1) solution, (2) the sum of solute and solvent, and (3) solute. We have systematically investigated interconversion relations among concentrations, contents, fractions, and ratios. In concrete, we have derived interconversion equations on concentrations among molar (amount), number, mass, and volume concentrations, on contents among mole (amount), number, and volume contents, on fractions among mole (amount), mass, and volume fractions, and on ratios among mole (amount), mass, and volume ratios, and summarized these derived equations in tables. We have also calculated various compositions of ethanol in an aqueous ethanol solution which mass fraction of ethanol is 0.500 using both definition equations and derived interconversion equations. Calculated composition values using definition equations are in complete agreement with ones using interconversion equations. These equations are simple and plain, and therefore they are useful for solution science.departmental bulletin pape
A Sociological Consideration of the History of the "Ekin Boom"
Get PDF高知県（昔の土佐の国）では大きな芝居絵屏風を飾る夏祭りが行われ、土佐の夏の風物詩として地域の人びとに親しまれていた。芝居絵屏風は大きな（180 cm×180 cm）二曲一隻の屏風であり、弘瀬金藏（1812-1876）、通称、絵金が芝居絵屏風を描き始めた。江戸時代後期から明治時代まで土佐の国では、農村舞台で歌舞伎や人形浄瑠璃などの地芝居が上演された。人びとは芝居絵屏風を絵金に描いてもらい、夏祭りの機会に神社やお堂に奉納した。しかしながら、日本の近代化の過程で映画が普及し、娯楽が多様化するにともない、夏祭りに芝居絵屏風を飾ることも少なくなった。絵金の死から約90年後、1960年代における対抗文化の時代背景の下で絵金と彼の芝居絵屏風などの作品が再び注目されるようになった。絵金の画集などの本が出版されたり、絵金の映画が全国の映画館で上映されたり、東京、大阪、京都、神戸の有名な百貨店で絵金展が開催された。新聞や雑誌などのマスメディアによって名づけられた「絵金ブーム」が到来した。本論文では、歴史社会学的視点から、「絵金ブーム」に関する多様な資料を分析し論述してみる。Some locales of Kochi Prefecture (formerly Tosa Province) held summer festivals to display Shibai-e screens;a Tosa summer tradition. Shibai-e screens are large (180 by 180 centimeters) two-panel folding screens that were painted by the artist Hirose Kinzo (1812-1876), known as Ekin. In the Tosa province, Jishibai (rural forms of kabuki or traditional puppet theater Ningyojoruri) were performed on rural wooden stages from the late Edo period to the Meiji period. People had requested Ekin to paint Shibai-e screens to dedicate to Shinto shrines, or Buddhist temples during their summer festivals. However, the during the modernization of Japan the spread of the movies and the diversification of popular amusements resulted in the decline of summer festivals to display Shibai-e screens. Approximately 90 years after Ekin’s death, under the historical context of 1960s and the age of counter-culture, Ekin and his works returned to the public eye. The collecitons of Ekin’ s pictures were published and the movie of Ekin shown in the movie theaters throughout Japan. Moreover, Ekin exhibitions were held at the famous department stores in Tokyo, Osaka, Kyoto, and Kobe. The “Ekin Boom”, as refered by some newspapers or magazines, had come. This paper analyzes and discusses various materials on the “Ekin boom” from the perspective of historical sociology paradigm.departmental bulletin pape
Emily Dickinson and Eastern Thought (1)
Get PDFEmily Dickinson は1846年15歳の時、Chinese Museum を見学した際、展示物よりも元阿片患者の中国人ガイドが語った、阿片中毒克服のため彼等が行った“self denial ” に興味を抱いた。既に中国についての知識があった故に派手な展示物に目を奪われることなく、そのような精神的なものに興味を引かれたに違いない。当時の米国における中国についての情報源を調べたところ、彼女はキリスト教宣教師、ボストンの貿易業者、米国の政治家から成る、東洋進出を狙う共同体という環境に育ち、宣教師の情報誌the Missionary Herald やthe Chinese Repository 等を通して中国についての情報が身近にあり、仏教や阿片貿易による悲劇等についての知識も得ていた可能性が高い。アマストでの宗教復興運動の最中、宗教告白できず鬱状態になっていた時に“self denial ” に出会ったため、その体験は彼女の心の奥に根付いたと思われる。その影響はすぐには現れなくとも、中国の歴史や思想についての知識と相まって、後の隠遁という生き方や、「沈黙」や「無」等、詩の中に見られる否定的概念を高く評価する考え方に現れたものと思われる（否定的概念については拙著Emily Dickinson’s Marble Disc で論じている。）。When Emily Dickinson visited the Chinese Museum in Boston at the age of fifteen in 1846, she must have already known a great deal about Chinese culture and history, so she was perhaps less interested in the magnificent Chinese exhibits than in the explanation given by two Chinese guides and ex-opium smokers of the “self denial ” way of conquering opium addiction.
An investigation of the sources of information about China, especially about Buddhism, available in the United States in the early nineteenth century, reveals that Christian missionaries sent back information on Eastern thought such as Buddhism and Confucianism through their bulletins: the Missionary Herald from the 1820s and the Chinese Repository from the 1830s. The poet grew up among Boston traders, Christian missionaries, and American politicians, who cooperated in order to further the expansion into China: Boston traders wanted free trade with China, missionaries wanted to save Chinese souls, and American politicians wanted to establish diplomatic relations with China. So Dickinson would have been familiar with Chinese culture and history, including the tragedy caused by opium.
Dickinson came across “self denial ” while she was staying with her aunt in Boston to throw off the depression that was caused in part by being unable to make a confession in the religious revivals in Amherst. The idea of “self denial ” must have taken deep root in her mind. Its influence did not appear immediately, but became apparent later with her knowledge of Eastern thought and the history of China, in her choice of seclusion in her later life and in her evaluation of negatives such as “silence” and “nothingness” found in her poetry (I discuss this in my book Emily Dickinson’s Marble Disc: A Poetics of Renunciation and Science.).departmental bulletin pape
John Dos Passos’s Corporeal Experimentations through 1920’s Theater
Get PDF1920年代、ジョン・ドス・パソスはモダニズム作家として多様な前衛芸術に関わった。彼はヨーロッパでは実験的な演劇や舞台芸術に触れ、ニューヨークでは戯曲家、そして劇団ニュー・プレイライツ・シアターの監督として活動した。本論文ではこのドス・パソスの演劇との関わりを身体的芸術表現の一環として考察する。彼は当時の前衛演劇から多くのインスピレーションを得、様々な技法を学んだ。のちの代表作『U.S.A.』三部作で、「ニューズリール」、「カメラ・アイ」、歴史上の人物の伝記的スケッチ、そして虚構の登場人物の物語、といった異なる語りの話法を巧みに組み合わせたのはその成果である。本論文ではドス・パソスにおける身体的芸術表現としての演劇の重要性を確認し、戯曲家および劇団の監督としての彼の仕事を検証する。さらに、ドス・パソスがヨーロッパの前衛的な演劇や舞台芸術をとおしてコラージュおよびモンタージュ技法と遭遇したこととその意義を考察する。戯曲家、監督としてのドス・パソスの試みは失敗に終わったものの、前衛演劇との関わりは、彼の文学上の実験を推し進め、三部作において斬新な語りの技法を成功させる原動力となったのである。As a modernist writer, John Dos Passos associated himself with a wide variety of avant-garde art during the 1920s. While his 1925 novel Manhattan Transfer received critical acclaim, his vast travels and inclination toward leftist ideology led him to become deeply involved with experimental theater. While in Europe, he immersed himself in plays and the performing arts overall, while in New York City, he promoted theater as a playwright and director for the New Playwrights Theatre.
This article focuses on Dos Passos’s theatrical involvement as an effort to express corporeality beyond print or the literary text. He drew inspiration and techniques from modernist experimental theater and integrated them in his U.S.A. Trilogy. The 42nd Parallel (1930), the first volume that was republished in 1938 as part of the trilogy, displays an ingenious combination of innovative narrative devices such as in “Newsreel” and “Camera Eye,” along with a series of biographical sketches of public figures and stories of fictional characters. I first discuss the attraction of theater to Dos Passos as an embodiment of his passion for corporeal expression in art and then survey his oeuvre from his position as both playwright and director for the New Playwrights Theatre. Next, I investigate Dos Passos’s other encounters with theater and the performing arts: namely, collage and montage that he embraced after his exposure to theater overseas. Though Dos Passos’s attempts as a playwright and theater director failed, these experiences inspired his daring spirit and the innovative narrative devices to flourish in the U.S.A. Trilogy.departmental bulletin pape
American-Style Cookbooks : Eliza Leslie and Sarah Josepha Hale
Get PDFこれまで長い間、料理本は歴史や文学の研究対象になるジャンルだとは見なされてこなかったが、最近ではアメリカ文化の形成を明らかにするのに有用な、文化的社会的な価値をもつ「生きたドキュメント」と考えられるようになっている。本稿では南北戦争以前に最も人気のあった料理本作家だったEliza Leslie (1787-1858)とSarah Josepha Hale (1788-1879)を取り上げ、その代表的なクック・ブックを読み解くことによって、著者たちがクッキングという狭い私的な領域に留まることなく、より大きな文化や思想の世界と深く関わろうとしていたという事実に光を当てる。Directions for Cookery (1837)においてLeslieが徹底的に「質」にこだわったレシピを並べているのは、それが中産階級の裕福な女性たち向けに書かれた料理本だったからだが、新しく台頭した中産階級の人々のために理想の料理を提供しようとした彼女は、正確に食材を計量する料理法が誰でも同じ料理を作ることを可能にすると主張し、アメリカ中産階級の確立という公的な仕事に貢献したのだった。他方、Haleはこれまで保守的な男女の領域分離主義者と評されてきたが、Early American Cookery: "The Good Housekeeper" (1839) における彼女は、男性にふさわしいと考えられていた科学を料理に取り入れることを強調し、公立学校における女子教育の重要性を力説しているが、こうしたラディカルな考えは「ハウスキーパー」を育てるための料理本にすぎないという彼女のレトリックによって巧みにカムフラージュされている。これらの料理本は、いずれも家事、料理という私的な世界に関する助言書にほかならないが、著者の Leslie と Hale は19世紀アメリカの女性たちに押し付けられていた「女性の居場所は家庭」というドメスティック・イデオロギーを逆に利用することによって、家庭性に潜む政治性を女性読者に伝えようとする、きわめてポリティカルな活動家たちだった、と結論できる。The paper focuses on the cookbooks written by Eliza Leslie (1787-1858) and Sarah Josepha Hale (1788-1879) which, though long thought to be unworthy of serious study, are now being reconsidered as unique documents of cultural and historical value. In her Directions for Cookery (1837) Leslie's insistence on quality food was closely related to the establishment of the American middle class because her splendid recipes represented not dietary reality but what a great many people wanted to eat. The fact that most of her food ingredients were given in specific measurements also helped to strengthen the middle class in the sense that her recipes made it possible for everybody to prepare the same dishes. Although Hale has been regarded as conservative because she was in favor neither of women's suffrage nor of women competing with men, a close reading of her Early American Cookery (1839) reveals that she encouraged women to exert their influence outside their homes and also protected women's right to public education. But she took care to hide her radical views by modestly proposing that her ideas were only meant to produce good housewives. Reading these popular cookbooks is not just looking at a collection of recipes, but also looking into their female authors' struggles to go beyond the boundaries between the private and public spheres and to convey their thoughts about the American Republic and women's position in American society through them.departmental bulletin pape
Otherworldly Journeys in the Ancient Near Eastern Myths and Modern Fantasies
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The Taiwan Tours of the Soprano Singer NAGAI Ikuko (1893-1983) Attested in Taiwan Nichinichi Sinpou (Taiwan Daily Newspaper)
Get PDF本論は、『漢珍日日新報データベース』によって『台湾日日新報』を調査し、永井郁子（1893～1983）の台湾楽旅の実態を解明することを目的とする。調査の結果、記事81点が見出されること、そこから永井の台湾楽旅は第一回（1928）、第二回（1930）、第三回（1933）、第四回（1936）および第五回（1937）の5度に及ぶこと、永井の台湾行きは詐欺事件に端を発していること、これらの記事から第一回6件、第二回4件、第三回22件、第四回1件、第五回2件、合計35件の独唱会の存在が知られること、とはいえ、それらは実際に永井が行なった演奏会のせいぜい半数程度しか報道していないこと、内6つの演奏会については演奏曲目の詳細が明らかになり、他の3つについてはプログラム構成の大枠が知られること、第三回については当時の拓務相永井柳太郎の勧めで渡台し、多数の小学校・公学校・高等女学校・師範学校で独唱会を行なって、永井柳太郎作詞、宮良長包作曲の〈新日本建設の歌〉を歌い、かつ児童生徒に歌わせたこと、永井の渡台を組織したのは台湾総督府の官僚を中心とする永井郁子女史後援会であったことが明らかになった。This paper aims to clarify the performing tours to Taiwan by the Soprano singer NAGAI Ikuko (1893-1983) as reported by the Taiwan Nichinichi Sinpou (Taiwan Daily Newspaper) using the database prepared by the Transmission Books & Microinfo. The results of this research are as follows: 1) There are eighty one articles in Taiwan Nichinichi Sinpou related to her. 2) Nagai made Taiwan tours five times in 1928, 1930, 1933, 1936 and 1937. 3) Her tours resulted from a fraud case. 4) Thirty five recitals are reported in these articles (six for the first tour, four for the second, twenty-two for the third, one for the fourth and two for the fifth). 5) These numbers represent no more than half of the actual recitals given by Nagai in Taiwan. 6) The details of the prgram are reported for six concerts and the structure design is reported for three. 7) She made her third Taiwan tour on the advise of the Minister of Colonial Affairs, NAGAI Ryutaro, giving recials in many schools (elementary, girls’, and normal schools), singing the ‘Song of the Construction of New Japan’ with the lyrics by NAGAI Ryutaro, the music by MIYARA Choho. 8) NAGAI Ikuko’s Supporters’ Association was established for her second Taiwan tour in 1930 and its main members were officers of the Taiwan Governor’s Office. It is also to be mentioned that in February 1932 NAGAI Ikuko made the school boys and girls not only listen to but also sing together the ‘Song of the Construction of New Japan’, whose text is nationalistic and agressive. From today’s point of view, this appears to be an anticipation of the Japanization education to come in Taiwan in September 1932.departmental bulletin pape