Kyoto Bunkyo University Academic Repository / 京都文教大学学術機関リポジトリ
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【Special Report】The Current Situation and Challenges of Citizenship Education in Primary and Secondary Schools in Hong Kong
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Development and Implementation of a Career Education Course Incorporating Education on University Identity: A Case Study of the‘Career Education and KBU Identity' Course at Kyoto Bunkyo University
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The Potential of Outreach Activities in Early Childhood Educator Training : Cooperation between Music and Welfare Education
Get PDF本研究は、保育者養成校で音楽と社会福祉をそれぞれ学んでいる2 つのゼミナールが協働し実施したアウトリーチ活動について、学生にどのような気づきや学びが得られたかを基に、活動の教育効果を検討したものである。学生は、活動を実施する中で不特定の子どもや保護者との対話、予測できない環境への柔軟な対応の必要性に気づき、子ども・子育て支援としてのアウトリーチ活動の意義を学んだことが示唆された。departmental bulletin pape
The Revival of Kalighat Paintings and the Transformation of Pat Paintings
Get PDFIn Bengal, India, the Patua or Chitrakar caste has traditionally made a living by painting picture scrolls and narrating stories through images. Some members of this caste continue to practice this unique art form. Pat paintings come in two types: picture scrolls (jorano pat: long pictures) and single-panel pictures (chouka pat: square pictures). While they serve different purposes, picture scrolls were originally intended for storytelling, while single-panel pictures were designed to decorate altars or rooms. The painters of picture scrolls often depict fragments of Hindu mythology from the great epics Ramayana and Mahabharata, as well as stories of divine miracles. They also illustrate Islamic saint (pir) worship, the life of Jesus Christ, and various historical and social events. While picture scrolls are not sold, single-panel pictures, such as Kalighat paintings, are created for commercial sale. As door-to-door storytelling has declined, picture scrolls are now primarily produced for sale. Kalighat paintings became popular in the early 19th century, created by painters who migrated from central and southwestern Bengal to the Kalighat Temple area in Kolkata. Initially, these paintings served as souvenirs for worshippers and visitors. However, in the latter half of the 20th century, demand for Kalighat paintings sharply declined due to the rise of modern printing technology and oil paintings, leading to their eventual fall. After a long hiatus, Kalighat paintings were revived around 1995 by K. Chitrakar, an artist from the Murshidabad district. Today, many painters in N village in the Medinipur district produce and sell them. This paper, based on materials from my recent survey, examines the background of this revival and the transformation of Kalighat paintings.
Early Kalighat paintings were made using handmade pigments on rough, handmade paper. Over time, artists began using imported watercolors and factory-made paper, which enhanced productivity. Kalighat paintings are easily distinguishable from picture scrolls. While some subjects overlap, Kalighat works often satirize the changing lives of urban residents and the decline of traditional morals under Western influence, showcasing a unique and humorous style. Distinctive features of Kalighat paintings include the use of shadows, rounded forms, and the absence of background paintings and borders. In contrast, picture scrolls typically depict detailed backgrounds and bordered forms without shadows. Painters in N village understand these stylistic differences; however, rather than strictly replicating traditional Kalighat art, they often incorporate background paintings and borders that are not part of the original style, sometimes omitting shadows, which are an important element of Kalighat paintings. This indicates a transformation of Kalighat art, as some styles of scroll painting have been integrated. Today's artists appear more focused on self-expression than on mere imitation of their predecessors. Many contemporary painters find themes of satire and wit in modern society, suggesting that Kalighat painting can articulate numerous contemporary issues. As a result, it is likely that new themes will emerge in the future, leading to further transformations in Pat painting.departmental bulletin pape
Literature Review About Families of Patients With Mood Disorders in Japan.
Get PDFThe purpose of this study is to clarify the problems and difficulties faced by family caregivers of individuals with mood disorders through a review of relevant literature. The author used Google Scholar to search for relevant papers, and out of 43 potential articles, selected 8 for review. The problems and difficulties faced by family caregivers were analyzed by a method similar to the KJ method. There is a lack of research on family caregiving, particularly for bipolar disorder, with only one relevant study identified. The study found that family caregivers experience several key difficulties: "influence on family", "interactions with the patient", "feelings of resistance", "anxiety about the future", "lack of information", "thoughts from others", and "dissatisfaction with hospitals and treatment". Especially, "influence on family", "interactions with the patient", and "anxiety about the future" were extracted from more than half of the target papers, indicating that many family caregivers experience these difficulties. As a result of these problems and difficulties, “providing information” quickly is demanded as a counterplan for problems and difficulties faced by family caregivers. Future challenges for research are exploring effective support for the family caregivers, and accumulating data on family caregivers of individuals with mood disorders.departmental bulletin pape