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マインドフルネス・ムーブメントの 思想背景に関する考察 : 2
No full textMindfulness, originated in the teachings of Buddha, has been gaining attention in the West over the past forty years or so. This phenomenon is often referred to as ‘mindfulness movement.’ In 1979, mindfulness was introduced in the fields of medicine and psychology as a therapeutic application rather than as a concept of Buddhism. Since its introduction, numerous studies have demonstrated that ‘secular mindfulness,’ namely, Mindfulness-Based Stress Reduction (MBSR), a psychotherapy focusing on the practice of mindfulness, can lead to improved personal mental and physical health. On the other hand, there is, of course, ‘Buddhist mindfulness,’ inherited from Buddha's teachings, and has permeated modern society, contributing to the peace, happiness, and well-being of individuals. Whether it is secular or Buddhist, the fact remains that mindfulness is rooted in Buddhism. This paper thus explores the question: how has Buddhism influenced the ‘mindfulness movement’ in the West today?
The current paper is the second half of a summary of a master's thesis by the author submitted in January 2022. The first half published in HABITUS vol. 27., mainly examined ‘secular mindfulness’ and revealed the reasons why Jon Kabat-Zinn, the founder of MBSR, had to remove Buddhism from the psychotherapy despite his strong belief in Buddhism. It also explored contemporary ‘Buddhist mindfulness’ as taught by Thich Nhat Hanh, a Vietnamese Zen Buddhist monk, including his peace activities in relation to ‘Engaged Buddhism.’ Following the previous paper, the current paper further explores Nhat Hanh’s mindfulness and how the effects of an individual's mindfulness practice may extend to society and, ultimately, the world. The paper then investigates mindfulness in early Buddhism, compares it with two forms of contemporary mindfulness, and discusses the research question above, based on the comparison. Finally, it suggests that the Buddha nature within all living beings is the key to the answer. Overall, the study contributes to our understanding of the two types of mindfulness and their respective roles in the modern society within the ‘mindfulness movement.
口唱歌における音と言葉のかかわりを手がかりとした伝統音楽の学習 : 小学校音楽科における箏を用いた授業開発に向けて
No full text本稿の目的は，小学校音楽科における伝統音楽学習のカリキュラムの開発を目指し，音と言葉のかかわりを手がかりとしながら，口唱歌を援用し，箏を用いた授業開発の道筋をつくるための考察を行うことである。口唱歌と子どもの世界の音とつながりについて検討を行った結果，子どもの自発的表現にある音感覚を大切にすること，自分の言葉で旋律を捉える楽しさを感じること，口唱歌で音のイメージを伝え合うこと，口唱歌を手がかりに日本伝統音楽の本質を自然に捉えながら楽しく学習することが，授業の開発に向けた方向性として導かれた。This paper aims to develop a curriculum for studying traditional music in elementary school. It examines the relationship between Japanese sounds and words to create a pathway for developing lessons using the Koto, with the help of kuchishoga, that is, using words to produce instrumental melodies. As a result of the study of the connection between kuchishoga and the sound of children's world, (1) the value of spontaneous expression among children, (2) the feeling of joy that comes from capturing their melodies in their own words, (3) how to communicate auditory images through kuchi-shoga, and (4) how to enjoy learning while naturally understanding the essence of traditional Japanese music through kuchi-shoga, enabling the class’s course of study to be determined
単元前後で児童が読み取った運動情報の比較分析 : 小学校４年生「開脚跳び」の授業を対象に
No full textThe purpose of this study was to investigate changes in how fourth-graders received motion information via video-teaching material after a straddle vault class. In this study, the authors focused on technical points taught by a teacher in the class and analysed descriptions made by the students while watching the video both before and after the class. As a result, the following was clarified.
1. We inferred that the pupils properly understood the learning content, as most of them correctly recognized the performance shown in the video. However, some were unable to correct false knowledge and needed help in understanding the learning content.
2. As descriptions made by the pupils before the class contained incorrect knowledge, it is assumed that correct knowledge was taught in the class. Furthermore, only a few descriptions contained technical points. As it would not have been sufficient to teach these points as knowledge, we assumed that the teachers took additional measures to ensure that pupils paid attention to such points.本研究はJSPS 科研費 20K028260A の助成を受けたものです
三峡ダム建設をめぐる二つのドキュメンタリー映画にみる「他者」の声 : 『 秉愛』とUp the Yangtze
No full textThis paper focuses on “others,” the people depicted in two documentary films about the construction of the Three Gorges Dam, 『秉愛』(Bing Ai, 2007) by Chinese filmmaker Feng Yan, and Up the Yangtze (2007) by Chinese Canadian filmmaker Yung Chang. Chapters 1 and 2 examine the uniqueness of each work, and Chapter 3 investigates their similarities and differences. Both directors have roots in China and both released their films in 2007, the year after the dam was completed. However, the directors differ in terms of their nationality, gender, age, and social background. Further, by visualizing the different types of watershed residents they focus on, we elucidate the attitudes shown in the respective films.
We first review the background of the film in order to understand Feng’s 『秉愛』 representation and then rethink three points: the lack of music used in the film, the lack of adequate image and sound processing, and the visualization of not only 秉愛, who continues to resist the government’s recommendation and is later ordered to relocate, but also the residents who are forced to face the same situation. In addition, it is pointed out that Feng contrasts Chinese government officials with the residents, highlighting the economic, educational, and cognitive disparities that arise between them.
On the other hand, this paper analyzes the representation of the sightseeing boats on the Yangtze River in Up the Yangtze, after reviewing the background of the film. In fact, since this film serves more as a narrative than a documentary, viewers could associate it with the Bible. However, in Up the Yangtze, it is not God who puts the world in danger of being submerged, but human who have constructed the largest dam in the world and sought a more comfortable, secure, and modern life. In addition, the film shows foreign tourists visiting an apartment complex for farmers relocated from a flooded area. Through this depiction, Yung demonstrates the reality of farmers who are forced to cultivate crops with which they are inexperienced, in a new land.
To further discuss the two films, we examine the following three aspects and explains the similarities and differences: the filmmaker’s point of view, the relationship to the Chinese economy and capitalism, and the positions presented by the Feng and Yung. It can be seen that『秉愛』is a long-term, in-depth story of a poor woman living in the Three Gorges region before the completion of the dam, documenting the situation of migration from a local perspective by a filmmaker who is also Chinese but from the middle class (and above) and educated in China or Japan. Up the Yangtze, in contrast, depicts the Chinese transition to a consumerist, capitalist economy before and after the completion of the dam and its impact on the residents of the Three Gorges region from an outside perspective, that is, from the perspective of Canadians who have enjoyed the affluence of a capitalist society. The two films show implications of the complex Chinese social context behind the dam’s construction in detail. Further study of films depicting similar themes is needed in order to shed light on the massive phenomenon of the Three Gorges Dam from more diverse perspectives.本稿は JSPS 科学研究費（科研費番号：20K00433）および敬和学園大学人文社会科学研究所の助成を受けた研究成果の一部である
A Stylistic Analysis on Speech and Thought Representation in Oliver Twist: With Special Reference to NRSA, NV, NRTA, and NI
No full textMemorandum of Nō Plays Takasago and Uneme (Lady in Waiting) Composed by Zeami
No full text本稿は、拙稿「能《杜若》の構想と中世の草木成仏説」（『中世文学』第68号、2023年6月）の補遺として、拙稿で明らかにした中世の草木成仏説の実相を踏まえて、世阿弥作の能《高砂》と《采女》の二曲の詞章について近現代の諸注とは異なる解釈を試みたものである。
万物を包摂する真理が分節されるのではなく、その全体を挙げて一つ一つの事物になるという論理構造を踏まえれば、《高砂》の「草木土砂、風声水音まで、万物の籠もる心あり」は、素直に「草木土砂、風声水音」に至るまで、あらゆるものに万物が内包されていると読むべきであり、《采女》の「もとより人々同じ仏性なり」は、本来的に人々は同じ一つの仏性（真理）そのものである、と解釈すべきであることを指摘する。いずれも夙に『謡抄』が示していた読みである
古代語における「ツ・ヌ」のアスペクト的意味とアスペクト的位置付け : 『竹取物語』を中心に
No full text本稿は、第53回西日本言語学会において「古代語における完成相標識「ツ・ヌ」のアスペクト的意味」と題して口頭発表したものに加筆・訂正したものである
公正な議論とは何か : J. S. ミルと「思想の市場」の比較
No full text広島大学応用倫理学プロジェクト研究センター研究成果報告書統一テーマ：［妥協から和解へ］《Vom Kompromiß zur Versöhnung
皇帝とローマの和解 : セネカにおける神君の理念
No full text広島大学応用倫理学プロジェクト研究センター研究成果報告書統一テーマ：［妥協から和解へ］《Vom Kompromiß zur Versöhnung
