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イギリス中世演劇とシェイクスピア作品におけるクライマックスの音楽
No full textThe recorded history of British drama begins with the Quem Quaeritis trope used in Christian masses, the name of which is derived from the opening interrogation meaning “Whom do you seek in the sepulchre?” The fact that the oldest extant dramatic text in British drama is connected to liturgy suggests that music was very close to drama even at its earliest stage. Intimate connection between music and drama is also present in Greek tragedy, in which the chorus plays indispensable parts.
Medieval religious drama in Britain gradually changed in the process of incorporating secular aspects in its content. In the 15th century, plays like morality and miracle plays clearly separate speech and music, and different styles of employing music began to be present. The texts of Elizabethan drama show traits of further exploration in the manner of music usage. This study compares the uses of music in seven medieval plays and 37 plays of Shakespeare with a focus on their quantitative aspects and characteristics of functions in their dramatic highlights.
First, a quantitative analysis reveals a contrast in the general characteristics of musical usage in the two groups of plays. The instances of music in the above-mentioned plays are divided into two large categories: “Situational Music” and “Non-situational music”. Formulaic uses of music, which means that similar patterns in the relation of the context and music are observed, fall in the category of “Situational Music”, and other unique usages are grouped as“ Non-situational music”. Each category has several subdivisions, according to the kind of scenes and the relationships between the performers and the listeners of each instance of music. This comparison between the medieval and Shakespeare’s plays being considered here, using a single categorization scheme, reveals two major characteristics. One is that in both the two groups of plays most uses of music are formulaic, approximately 82% and 87% respectively. The other is the differences in the frequencies of subcategories. The medieval plays provide the largest number of examples of these formulaic uses in the subcategory of “Entrance/Exit of Characters”, followed by music sounded with “Change of Scenes”, and both subcategories account for 65% of the uses of “Situational Music”. In Shakespeare’s plays, on the other hand, the largest number of cases of music are found in “Battle Scenes”, with “Entrance/Exit of Characters” as the second, providing 78% of the examples of “Situational Music” altogether. This difference implies that strengthening the transition of actions and scenes, or structure of the plays, is a major function of music in these medieval plays, whereas music largely contributes to the representation and reinforcement of the action on the stage described by speech in these Shakespeare’s plays.
Second, various instances of music in the climaxes of these plays symbolize diverse approaches to musical usage. In the medieval plays examined here, psalms and other religious music are frequently performed during the culmination of the plot. The closing lines of Mary Magdalen and other three plays also suggest that the audience are invited to sing Te Deum with the cast. These practices of using music can be considered as a way of reinforcing a particular ideological framework, specifically Christianity, and incorporating spectators in the system through acoustic stimuli and engaging them in musical activities. In contrast, the styles of music used in the highlights of Shakespeare’s plays range from secular songs to dead marches. An especially noteworthy example is the music in the statue scene of The Winter’s Tale. The music played in this scene outwardly signifies a conventional association of music to therapeutic or supernatural power. However, the dialogue of three gentlemen preceding the scene imply that the resurrection of Hermione is merely a pretense. In this case, the role of the cue music for Hermione’s movement can be seen as creating a dramatic impact. This ambiguity regarding the primary function of the music suggests that this example of music deviates from accepted styles, and thereby weakens an existing framework of music usage. This instance of The Winter’s Tale is considered as a specimen of the transition of the relationship between music and drama from the medieval period and the Elizabethan era.本稿は，日本英文学会中国四国支部第75 回大会（2023年10月29日）におけるシンポジアム「英文学と音楽／音楽性」での発表内容に加筆・修正を加えたものである
二つの喜劇『エフェズスの寡婦』 : レッシングとC.F. ヴァイセの作劇法
No full textLessing und C. F. Weiße besuchten als Freunde die Neuber’sche Schauspieltruppe in Leipzig und wetteiferten in den 1740er Jahren im Komödienschreiben. Die Übertragung von Petroniusʼ „Matrone von Ephesus“ aus dem Satyricon nahmen sie beide zum Thema. Hier wird ihre Technik bei der Dramatisierung der „Matrone von Ephesus“ vergleichend betrachtet und ihre Eigentümlichkeit klargemacht. Im Original klagt eine tugendhafte Witwe am Grabmal heftig über den Tod ihres Mannes. Ein junger Soldat kommt, zeigt Mitleid mit der Witwe und bringt Essen und Wein. Die Frau wird intim mit ihm. Der Leichnam eines verurteilten Räubers wird vom Kreuz gestohlen. Weil er es nicht verhindert hat und deshalb bestraft werden wird, will sich der Soldat das Leben nehmen. Die Witwe schlägt vor, ihren toten Mann an das Kreuz zu hängen. Petronius stellte in diesem Werk die Flatterhaftigkeit der Frau satirisch, dekadent dar.
Der 18-jährige Weiße hat 1744 die Geschichte in einen Einakter mit 9 Auftritten in Alexandrinern übertragen. Die Anfangsszene beginnt mit dem Klagelied der Witwe. Antiphila bringt ihr Leid am Sarg zum Ausdruck. Ihre Sklavin tröstet sie. Die Handlung ist sehr ähnlich wie bei Petronius, aber der Charakter der Personen ist tugendhafter und ernsthafter. Die Witwe bietet die Leiche ihres Mannes an, um den grausamen Tod ihres Lebensretters zu verhindern. Weiße zeigte geschickt die Treue der Witwe. Die rührenden Reden haben den Zweck, dem Publikum Tränen zu entlocken. Die Schlussszene hat die Tendenz zur rührenden Komödie.
Lessing hinterließ drei Entwürfe für „Die Matrone von Ephesus“. Zur Schwierigkeit der Dramatisierung erklärte er in der „Hamburgischen Dramaturgie“ (1767), dass so ein „beißendes Märchen“ für das realistische Theater nicht ganz passen könnte. Er schrieb seine Entwürfe stufenweise. Der Form nach war es ein Einakter mit vier handelnden Personen. Der grobe Diener ist der Träger der Komik. Sein Bericht vom Diebstahl des Leichnams ist eine Lüge. Lessing vermied ein grausames Ende. Der zweite Entwurf hat ein erweitertes Szenario mit acht Auftritten. Den dritten Entwurf plante er zur Aufführung und die Dialoge oder Monologe sind ausführlicher. Zwei Dienerfiguren sind fröhlich. Antiphila jammert nicht so heftig. Lessing verstärkte den edlen Charakter des Offiziers. Es stellt sich heraus, dass er ein Freund ihres Mannes ist. Es dauert noch, bis die Liebe zum Happy-End kommt. Mittlerweile verlor Lessing die Lust an diesem Stück. H. B. Nisbet weist zutreffend darauf hin, dass hier die Satire von Anfang bis Ende menschenfreundlich und gutmütig ist. 1770 begegnete Lessing der Witwe Eva König und heiratete sie 1776. Nach dem Erfolg von „Minna von Barnhelm“ (1767) konnte er sich nicht mehr mit kleinen Übertragungen zufriedengeben
集団思考・協調を目指したディスカッション指導
No full text本稿は、集団でディスカッションを行う際の指導の実践例を紹介する。集団で目的を共有し、思考に支えられた相互的なコミュニケーションを行う力を育成するために、ターンテイキングや反論の練習を行った。プレテストとポストテストの発話を比較した結果、言いたい単語が見つからない場面で協力をしたり、相手に問いかけたり抽象的に言い換えたりすることで協同して問題を解決しようとする姿がみられた。高校生のディスカッション指導を通して見つかった課題を考察する
「新しい価値を創造する力」を育む「総合的な探究の時間」の研究 : チクセントミハイ（1996）の「創造性のシステム」を手がかりにして
No full textThis study aims to develop an effective teaching method for cultivating creativity in high school education. To raise students’ creativity, inquiry-based cross-disciplinary studies and activities such as artistic creation are considered effective. However, Csikszentmihalyi(1996) highlights that a person needs to have a wide range of knowledge of a domain and field to develop creative work. Therefore, this study focused on the learning activities in which students gain knowledge of the domain and field by comparing scientists’ and graduates’ highly evaluated studies to their own. After the learning activities, students engaged in forming new ideas and learning better than those who did not gain knowledge of the domain and field.本研究は，滋賀県教育公務員弘済会しが教育賞において優秀賞（個人部門）を受けた「『新しい価値を創造する力』を育成する『総合的な探究の時間」に関する研究』」（未発表）の内容に，副題に関する論考を中心に大幅な加筆修正を加えたものである
統計理論によるprior分布の導出
No full text光解離や化学反応で生成する分子の振動や回転の自由度へのエネルギー配分は，解離や反応の動力学的特性に依存する。(無衝突環境での)光解離や化学反応では，余剰エネルギーが生成分子の運動自由度(並進，回転，振動)に配分されるが，配分方法によらず(全)エネルギーは同じであるから，配分方法の集団はミクロカノニカル集団である。したがって，動力学的な歪みがない限り，すべての配分方法が等しい確率をもつと考えることができる。このような統計論的エネルギー配分の結果得られるエネルギー分布を「prior 分布」と呼ぶ。生成分子のエネルギー分布の測定結果から，反応過程における動力学的な歪みの有無を判定するsurprisal(サプライザル)解析を行うにはprior分布が必須であるが，prior分布式の導出を丁寧に記したテキストは少ない。また，統計熱力学でなじみ深いBoltzmann 分布も統計理論の産物であるが，prior分布もBoltzmann分布も「等先験確率の原理」を基盤としているので，(初学者は)prior分布とBoltzmann分布の相違や相互の関係に戸惑うことが多い。本書は，2原子分子が生成する反応に関するprior分布式の導出およびBoltzmann分布との関係(相違点)の理解を目指して著したMonographである。第3版第1
Capturing Social Studies Teachers’ Experience about “Difficult” Topics in the Emerging Multiculturalism in South Korea
No full textThis research investigates what South Korean social studies teachers feel are “difficult” topics in the era of multiculturalism. Topics such as Chinese and Japanese history and culture and Muslim culture that were previously not difficult but have become more difficult challenge teachers’ conventional methods of teaching as the student demographic changes. Social studies teachers, in particular, have struggled to find a better way of teaching these newly difficult topics. While the struggle is ongoing, some teachers have transformed their teaching practice or vision of teaching by including Chinese and Japanese perspectives on territory issues, deconstructing the dichotomy of “us versus them,” and centering critical global citizenship. Utilizing qualitative methods and the lenses of teacher agency and critical global citizenship education, this study explicates teachers’ lived experiences and possibilities for change regarding teaching these newly difficult topics in a multicultural society
『“技術論”の源流をたずねて』 : 1930年代ソ連における“マルクス主義的技術史”の探究
No full text序章 問題の所在と課題…1
第１章 ニコライ・ヴォルコフと高等工業教育における“マルクス主義的技術史”の探究…19
第２章 ソ連邦科学アカデミー・科学史=技術史研究所（1932〜1938 年）…43
第３章 ハイム・ガルベルの技術論…65
第４章 “物質文化史”か“技術史”か？―1930年代初頭のソヴィエト国立物質文化史アカデミーにおける論争―…83
補論［1］ニコライ・ブハーリンの技術論…105
補論［2］ヴィクトル・ダニレフスキー再考…115
結…127
あとがき…133
人名索引…138
図の典拠…144
初出一覧…14
The Filipino comfort women on YouTube: Emotions, advocacy, and war memories in a transnational digital space
No full textIn this article, we examine the representation and contestation of Filipino comfort women’s memories on YouTube and assess the platform’s role in public discourse and transnational activism. Our content analysis of visual and narrative elements, alongside user commentary on selected videos, reveals that YouTube acts as a crucial transnational medium, linking advocacy networks and contextualizing historical narratives. However, the videos often sensationalize the victims’ experiences, undermining the seriousness of sexual violence, which could potentially weaken advocacy efforts. Moreover, user commentary on the videos can promote counter-narratives, rumors, and hostile comments. Despite these challenges, we underscore YouTube’s significance in fostering public discourse on war memories and justice in the Philippines in light of the government’s efforts to suppress the history of Filipino comfort women. The platform encourages the sharing of corroborative postmemory, enhancing war memorialization and audience engagement, and supporting the women’s claims of abuse. Ultimately, YouTube’s role as an open forum for discussion is vital in fostering dialogues for peace and justice and countering propaganda and hate
Flame acceleration and detonation initiation around a T-shaped bifurcation
No full textWe experimentally studied the flame behavior of H2–O2–N2 premixed gas around a T-shaped bifurcation in a piping system with an inner diameter of 20 mm. In the experiments, we measured the flame speed as a function of the path length from the igniting spark plug using ion probes and observed self-emission images using a high-speed camera. The speed and disturbance of the flame entering the bifurcation were varied by installing various numbers of obstacle rods into the pipe just downstream of the igniting spark plug. We compared the effects of the bifurcation on the flame propagation between two cases: the flame propagating straight through the T-shaped bifurcation and the flame turning 90° at the T-shaped bifurcation. In both cases, the flame was accelerated around the T-shaped bifurcation. Especially, in the case of the flame turning 90° at the T-shaped bifurcation, the flame acceleration was remarkable and, in some cases, a detonation was initiated immediately downstream of the T-shaped bifurcation. The observed remarkable flame acceleration is considered to be ascribed to the recirculation region formed by the separation of the unburned-gas flow downstream of the T-shaped bifurcation, and governed by the ratio between the ignition delay time of the mixture of the burned and unburned gases and the sound-crossing time for the pipe diameter which is the only length scale of a long pipe