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学校におけるメリトクラシーの信念とジェンダー不平等の認識 : Batruch et al. (2023) の追試
No full textBatruch et al. (2023) discovered the relationship between belief in school meritocracy —the belief that academic success is solely based on merit— and the legitimization of social and economic inequality. Individuals holding strong beliefs in meritocracy tended to perceive less inequality in both educational institutions and society at large. In order to explore this relationship within the context of gender inequality in Japan, we conducted three studies. Studies 1 and 2 focused on establishing a correlation between belief in school meritocracy and the legitimization of gender inequality, while Study 3 aimed to manipulate belief in school meritocracy to examine its effect on perceptions of gender inequality. Interestingly, the results of Study 2 contradicted those of Study 3, leaving our findings inconclusive. We subsequently discussed potential avenues for future research in this area.本論文は，2023年度に広島大学教育学部において開講された心理学実験において，第1著者の指導により第2著者から第6著者が実施した研究をもとに執筆したものである。本研究の一部は，第2著者から第6著者によって中国四国心理学会第79回大会学部生研究発表会で発表された
現代美術の表現と造形遊びについて : 「もの派」と「具体美術協会」の表現過程からの考察
No full textIn this study, in an attempt to cultivate an appreciation of artworks on the part of caregivers who engage in formative play, we draw out the connections between formative play and contemporary art through an understanding of two Japanese contemporary art movements of the 1950s–1960s, the Mono-ha and the Gutai Art Association. Through this we expect that caregivers will be able to advise children on their unformed works of art with enthusiasm from an informed perspective on developmental plastic arts activities. Although educational and childcare practices still emphasize formal beauty-oriented production activities, we would like to convey to caregivers that contemporary art and plastic arts involve completely different processes. Regarding the perspective of formative activities, we propose that it is important to consider the locational space surrounding artworks using Kitaro Nishida’s (1870–1945) “logic of place.
ジョイスの音楽 : Ulysses 第11挿話における「フーガの技法」と オノマトペについて
No full textJames Joyce, arguably talented in music as well as in language, suffered from serious eye problems throughout his life. Thus, it seems rather natural that musical and aural elements should play an essential role in his work, and “Sirens,” the eleventh episode of Ulysses, stands as the most conspicuous example of this tendency. In fact, Joyce himself proclaimed a “fuga per canonem”as the technic of this episode. This statement, however, has stirred an endless controversy among critics, along with one more intriguing trait of the episode: the overture or the opening list of linguistic fragments supposedly taken from the following body of narrative. Firstly, I overview the critical history of “Sirens” and clarify its lacunae. Then, I demonstrate three onomatopoeic fragments overwhelm five leading songs vocalized or played on piano in the three rooms of Ormond Hotel, the locus of the chapter. Finally, I suggest that these three onomatopoeic words can be interpreted as “god” in Ulysses as they can be heard in silence.
According to Brad Bucknell, Joyce’s phrase “fuga per canonem” is itself contradictory; etymologically fugue means“flight”or“playing free”while canon, “rule.” This ambiguity triggered confusion among early critics such as Stuart Gilbert and Frank Budgen. In the 1970s, Zack Bowen, who made a comprehensive study of Joyce’s musical allusions, broke new ground by arguing that the overture of fragments does not fit into the form of a fugue anyway. Thus, in the following decades, the critical paradigm itself was changed; instead of forcing Joyce’s text to comply with the musical form, it is the musical form that should conform to his language system. David Herman concludes that both music and language follow certain“rules for the (re) arrangement of elements”and that “Sirens” is analogous to Arnold Schönberg’s twelve-tone technique which subverted classical conceptions of music. Bucknell highly evaluates Herman’s analogy and declares that Joyce succeeds in preventing the fragments of overture from their inclusion into a central narrative just as Schönberg succeeds in preventing tonality from obtaining centrality.
Herman-Bucknell’s argument is plausible, but regrettably, they fail to provide enough textual analysis. They seem to be not much interested in the significance of onomatopoeias and how they cooperate with the songs in the episode, either. To address these lacunae, I would like to choose three onomatopoeic words: “jingle,“ ”tap,” and “pwee,” and five leading songs either played on the piano, whistled by a customer in the dining room of the hotel, or sung by customers in the saloon. Three onomatopoeias respectively represent the sound of adulterer Boylan’s car, that of a blind piano tuner’s stick, and that of the protagonist Bloom’s fart. The first onomatopoeia repeatedly appears at the early stage of the narrative, representing the movement of Boylan approaching the hotel and leaving it for Molly, the wife of Bloom. The second one appears in the middle stage, representing first the blind tuner approaching the hotel and then Boylan knocking on the door of Bloom’s house. It may also represent the sound of the sexual intercourse of Boylan and Molly as its repetition increases after Boylan enters the house. The third one first appears as the sound of gas in the bowel of Bloom towards the end of the episode, and finally takes place as a fart in a polyphonic manner at the end.
Three onomatopoeias and five songs correspond to the plot of the episode and reflect Bloom’s anxiety and despair concerning his wife’s adultery. Significantly, the five songs basically take place only when the repetition of three onomatopoeias does not appear in the text. I would like to suggest, therefore, that the main player of the episode can be onomatopoeias and not songs. In terms of fugue, “jingle” can be interpreted as the first subject and its repetition as the answer to it; “tap” and “pwee” could be the second and third respectively. On the other hand, the songs, which are textually less obtrusive than onomatopoeias, could be episodes. Stephen, another protagonist of Ulysses, says: “God: the noise in the street.”Since no character besides Bloom notices
onomatopoeias, I am suggesting that they can be considered noise or “god,” which is heard in silence after music or songs are over.本稿は，2023年10月29日に行われた，日本英文学会中国四国支部第75回大会シンポジアム「英文学と音楽／音楽性」における口頭発表「ジェイムズ・ジョイス―音楽としての言葉，言葉としての音楽」に加筆・修正を行ったものである
失われた自己を求めて : 東野圭吾の推理小説と禁断の科学
No full textThere are several rules in crime fiction that authors should be followed. Ronald Knox (1888-1957), an English author who suggested 20 rules for crime fiction, argued that the authors of crime fiction should not describe the crimes using advanced science and technology that are beyond reader’s comprehension. He added that there should not be no romance element in crime fiction. Moreover, he insisted that crimes could not be committed by a political party, and crime fiction authors should make every effort to describe using the limited description to show the characters.
Conversely, Keigo Higashino (b. 1958), one of the most popular authors of crime fiction in Japan pursues for a new form of crime fiction by breaking these rules. In his works, the author tries to show the characters related to the case may engage in self-exploration in the process, asking ‘Who am I?’. Therein lies the human challenges and conflicts with science and technology, as well as the shadowy political organizations that manipulate them.
I focus on several characters in Higashino’s works, in this essay, especially instances where the crime is perpetrated by a scientist. Moreover, I show character’s identities who seek their lost selves through the resolution of the questions, ‘Who has done the crime?’ and ‘Why has he/she done the crime?’
翻弄される運営費交付金 : 成果連動型評価の曖昧な成果
No full textThe purpose of this paper is to evaluate the impacts of performance-based funding evaluation (PFE), which was introduced after the incorporation of national universities in Japan, on the delivery of operating grants and expenses for education and research. To this end, we examined the impact of the two different types of PFE. The first is an achievement evaluation based on key performance indicators (KPIs) and the second is the relative evaluation based on objective and common indicators introduced suddenly in the middle of the 2021 fiscal year. The major findings are as follows.
First, under the current complicated evaluation system, after controlling for the input indicator (faculty number), both the priority support (KPI) and objective/common indicators do not influence the operating grants. Nevertheless, under the zero-sum game of the PFE system, winners of the game can reallocate grants to president’s discretionary expenses, but losers have no other way to reduce departmental basic expenses. It is no wonder that the local national universities are shrinking in size under the ambiguous PFE system.
Secondly, the objective/common indicators, such as numbers of PhDs awarded and competitive funding, are more sensitive to the research expenses than other expenses beyond the type of university grouping. If that is the case, then reallocation by PFE based on research-oriented indexes may damage regional national universities, in particular. However, this finding is suspected of reverse causality because it is obtained by cross-sectional data. So, universities with higher research spending are more likely to obtain PhDs and secure competitive funding despite their location.
Thirdly, to overcome this reverse causality and to confirm the fact that the finances of regional national universities are particularly tight, we performed time-fixed data analysis (2005-2021) for three priority support groups (regional, special and research) to reduce any macro shocks that affect the relationship between teacher personnel expenses and educational expenditure per student. The result shows that in regional national universities there is a trade-off relationship between teacher personnel expenses and educational expenditure per student. This paper concludes with considerations for future research on the performance funding and visualization of the cost of national universities
「体育理論」領域における「文化としてのスポーツの意義」単元に着目して : スポーツの倫理的問題を題材に
No full text本研究は，中学校３年生を対象に「文化としてのスポーツの意義」の単元において，スポーツの倫理的問題を題材とした授業モデルの作成及び授業実践を行った。授業実践の結果，中学生という発達段階からスポーツの倫理的な問題を取り扱うことで，する・みる際にフェアとは何かについて考え，スポーツに対する見方・考え方が拡がった。また，体育実技との関連を図り，座学で学んだ知識と経験を結びつけたことが，フェアなプレイをする態度の醸成に繋がった。これらのことからも，中学生からスポーツの倫理的な問題を取り扱うことで，文化としてのスポーツの意義や価値をより理解することができた
ドイツ不当利得法における使用利益返還論の現状と課題（5） : 飛行機事件判決（BGHZ55,128）以降の差額説・類型論を中心に
No full text1. In der heutigen Zeit stellen sich zunehmend Fragen im Zusammenhang mit Gebrauchsvorteilen. Gleichwohl ist dieses Problem in Japan noch nicht hinreichend erforscht worden. Im Gegensatz hierzu gibt es in Deutschland viele Arbeiten zu diesem Thema.
2. Die Untersuchung der Entwicklung von Rechtsprechung und Lehre in Deutschland führt zu folgenden Thesen für das japanische Recht:
Die Herausgabepflicht von Gebrauchsvorteilen wird durch die Lehre vom Zuweisungsgehalt bestimmt, da die Saldotheorie einen folgenschweren Fehler aufweist. Deshalb ist der Gegenstand der Rückgabepflicht in erster Linie die "Gebrauchsmöglichkeit". Die Gebrauchsmöglichkeit ist objektiv zu ermitteln. In zweiter Linie kann sich der Bereicherungsschuldner bei Wegfall des primär erlangten Gebrauchsvorteils auf seine Entreicherung berufen