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琉球王府時代における明朝系丸瓦の線描き符号
Get PDF琉球王国時代における明朝系瓦のとくに丸瓦に限定して残る記号に関して、その種類と意味
について考察した。検討では、瓦工場の聞き取り調査、類例資料の塼、陶器の刻印との比較を
おこない、玉縁周辺に集約する線刻部分が瓦使用時には見えない箇所であることなどから、数
量割り、仕訳、配布先を意識しての瓦工による符号と推定した。また、灰色瓦から赤色瓦生産
段階に移行する職人組織の変化について言及した。departmental bulletin pape
琉球陶器荒焼甕の編年研究
Get PDF近世琉球の焼物は「琉球陶器」とよばれる。琉球陶器は大きく施釉の上焼と無釉の荒焼に
大別される。荒焼は、壺や甕あるいは擂鉢といった器種が生産された。１７世紀から現代まで
生産されている製品である。
しかし、その型式的推移については不明な点が多い。そこで、本論では、型式学的検討行い、
古墓出土の紀年銘資料等を用い分析し、荒焼甕を５型式に分類、４段階の編年案を提示する。departmental bulletin pape
Analysis of the Influence of Brand Experience and Internalization on Consumer Affinity
No full textdepartmental bulletin pape
ウィリアム・カーロス・ウィリアムズの即興における自己の変容 : "Rome"およびA Voyage to Paganyを中心として
Get PDFDuring his stay in Europe in 1924, William Carlos Williams composed an unfinished manuscript
titled “Rome.” In this work, he bridges the gap between the spontaneity of improvisational prose
and the clarity of his objective verse. To illuminate both the work itself and the role of Williams’s
improvisations in the development of his materialist poetics, this essay examines“ Rome” alongside A
Voyage to Pagany, a closely related novel, from the perspective of self-transformation.
In “Rome,” Williams links the purification of words through improvisation with the dissipation
of the habitual self into transparent clarity. A notable section in “Rome” illustrates the author’s
deconstruction of self, which can also be interpreted as a precursor to his objective poetry. Drawing a
parallel between the essential elements of self and disassembled, polished components of a machine,
this passage reveals how Williams nurtured the concept of a poem, resembling a machine, as an
autonomous work of art rooted in the dissipation of the author’s self to subordinate it to the“ will” of
language.
A Voyage to Pagany reinforces this perspective by depicting a scene in which an artist
imaginatively morphs into “a steam engine with eyes” and prepares to appreciate the pluralistic
beauty of the world, a central ideal in Williams’s poetry.
The essay then analyzes a passage from Williams’s collaborative improvisation, “Man Orchid,”
to highlight the limitations of the author’s pluralist poetics within the context of self-transformation.
Although the poet’s transformation of self as a pure medium of language allows him to embrace
the beauty of a pluralistic universe, this approach inadvertently manifests as a form of whiteness, as
it objectifies the complex realities experienced by people of other races and reduces them to mere
subjects for artistic appreciation.departmental bulletin pape
