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Effects of overexpression of Shati/Nat81 in the medial prefrontal cortex on the dependence by methamphetamine and cognitive dysfunction in mice
Get PDF富山大学博士（薬学）Article富山大学・富医薬博甲第314号・Meriem Haddar・2019/09/27関連論文
1．Haddar, M, Uno, K, Azuma, K, Muramatsu, S, Nitta, A. Inhibitory effects of Shati/Nat8l overexpression in the medial prefrontal cortex on methamphetamine‐induced conditioned place preference in mice. Addiction Biology. 2019; 1– 9. https://doi.org/10.1111/adb.12749.
2．Haddar, M, Uno, K, Hamatani, K, Muramatsu, S‐I, Nitta, A. Regulatory system of mGluR group II in the nucleus accumbens for methamphetamine‐induced dopamine increase by the medial prefrontal cortex. Neuropsychopharmacol Rep. 2019; 39: 209– 216. https://doi.org/10.1002/npr2.1206
なぜ宮城県は二度の巨大歴史津波（869貞観，1611慶長）を対策から外してしまったのか : 情報開示された2010年夏「第4次地震被害想定調査」打合せ記録簿から浮かび上がる被害拡大要因
Get PDFPresentation日本災害復興学会2019年度鳥取大会, 日程：2019年11月9日(土)～10日(日), 会場：鳥取大学鳥取キャンパ
Synergistic enhancement of cancer therapy using combination of hyperthermia with physical and chemical modifiers
Get PDF富山大学博士（医学）Article富山大学・富医薬博甲第295号・MONIRUZZAMAN・2019/03/26
関連論文
1. Combination of 5-aminosalicylic acid and hyperthermia synergistically enhances apoptotic cell death in HSC-3 cells due to intracellular nitric oxide/peroxynitrite generation. Cancer Lett. 2019 Jun 1;451:58-67. https://doi.org/10.1016/j.canlet.2019.03.004
2. Roles of intracellular and extracellular ROS formation in apoptosis induced by cold atmospheric helium plasma and X-irradiation in the presence of sulfasalazine. Free Radic Biol Med. 2018 Dec;129:537-547. https://doi.org/10.1016/j.freeradbiomed.2018.10.434
3. Cold atmospheric helium plasma causes synergistic enhancement in cell death with hyperthermia and an additive enhancement with radiation. Sci Rep. 2017 Sep 15;7(1):11659. https://doi.org/10.1038/s41598-017-11877-8
4. 3-O-trans-p-coumaroyl-alphitolic acid, a triterpenoid from Zizyphus jujuba, leads to apoptotic cell death in human leukemia cells through reactive oxygen species production and activation of the unfolded protein response. PLoS One. 2017 Aug 23;12(8):e0183712 https://doi.org/10.1371/journal.pone.0183712
5. Enhanced expression of PD-L1 in oral squamous cell carcinoma-derived CD11b(+)Gr-1(+) cells and its contribution to immunosuppressive activity. Oral Oncol. 2016 Aug;59:20-29. https://doi.org/10.1016/j.oraloncology.2016.05.01
アイデアを共有しよう！～学生用図書の選書と評価～
Get PDFPresentation基調講演
「学生用図書蔵書構築に関わる現状と課題」 筑波大学図書館情報メディア系教授 逸村 裕 氏
事例報告（2件）
「選書業務事例報告-金沢大学」 金沢大学情報部情報企画課図書情報係長 端場 純子 氏
「関西学院大学図書館における学生用図書の選書」 関西学院大学図書館運営課専任主管 伊藤 幸江 氏
参加者によるワークショップ令和元年度国立大学図書館協会東海北陸地区助成事業 研修会「アイデアを共有しよう！～学生用図書の選書と評価～」
日時:2019年9月27日（金）13:30-16:30
会場:富山大学附属図書館 中央図書館 2F プレゼンテーションゾーン
主催:東海北陸地区国立大学図書館協会・北陸地区国立大学連合図書館系専門委員
福島「県民健康調査」検討委員会は科学的か
Get PDFPresentation科学技術社会論学会 第18回年次研究大会, 日程：2019年11月9日(土)～10日(日), 会場：金沢工業大学 扇が丘キャンパ
アルツハイマー病の病態改善を試行した脳インスリンおよびBDNF作用の効果的増強法と薬物治療学的意義の解明
Get PDF富山大学博士（薬学）Article富山大学・富医薬博甲第315号・吉田 ひとみ・2019/09/27関連文献
1．1.Tsuneki, Hiroshi et al. Different impacts of acylated and non-acylated long-acting insulin analogs on neural functions in vitro and in vivo Diabetes Research and Clinical Practice, Volume 129, 62 - 72 https://doi.org/10.1016/j.diabres.2017.03.032
2．Hiroshi Tsuneki, Hitomi Yoshida, Kentaro Okamoto, Misako Yamaguchi, Kosuke Endo, Ayumi Nakano, Masaaki Tsuda, Naoki Toyooka, Tsutomu Wada, Toshiyasu Sasaoka,
AS1949490, an inhibitor of 5′-lipid phosphatase SHIP2, promotes protein kinase C-dependent stabilization of brain-derived neurotrophic factor mRNA in cultured cortical neurons,
European Journal of Pharmacology, 851, 2019, 69-79, https://doi.org/10.1016/j.ejphar.2019.02.003
時間領域NMR法および磁気共鳴画像法による1H NMR緩和測定を利用した製剤物性評価
Get PDF富山大学博士（薬科学）Article富山大学・富医薬博乙第73号・岡田 康太郎・2019/06/19・★論文非公開★本論文を構成している論文
1) Okada K., Hirai D., Kumada S., Kosugi A., Hayashi Y., Onuki Y. 1H NMR relaxation study to evaluate the crystalline state of active pharmaceutical ingredients containing solid dosage forms using time domain NMR. J. Pharm. Sci., 108, 451–456 (2019). doi: 10.1016/j.xphs.2018.09.023
2) Okada K., Hirai D., Hayashi Y., Kumada S., Kosugi A., Onuki Y. A novel approach to evaluate amorphous-to-crystalline transformation of active pharmaceutical ingredients in solid dispersion using time-domain NMR. Chem. Pharm. Bull., 67, 265–270 (2019).
3) Okada K., Hirai D., Hayashi Y., Kumada S., Kosugi A., Onuki Y. T2 relaxation study to evaluate the crystalline state of indomethacin containing solid dispersions using time-domain NMR. Chem. Pharm. Bull., 67, 580–586 (2019).
4) Ito T., Okada K., Leong K. H., Hirai D., Hayashi Y., Kumada S., Kosugi A., Onuki Y. A time-domain NMR study of the state of water in wet granules with different fillers and its contribution to the wet granulation process and to the characteristics of granules. Chem. Pharm. Bull., 67, 271–276 (2019).
5) Ito T., Kida C., Okada K., Ikeda J., Otomura K., Hayashi Y., Obata Y., Takayama K., Onuki Y. Nondestructive monitoring of the dispersion state of titanium dioxide nanoparticles in concentrated suspensions using magnetic resonance imaging. Langmuir, 34, 12093–12099 (2018
10th Hearn talk: sound file
No full textapplication/mp3テーマ：墓の話（１）
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【参考】ラフカディオ・ハーンと俳句
(1)
持統天皇，『万葉集』巻２，１５９
天皇、崩（かむあが）りましし時の大后（おほきさき）の御作歌一首
やすみしし わご大君の 夕されば 見し給ふらし 明けくれば 問ひ給ふらし
やすみしし わごおほきみの ゆふされば めしたまふらし あけくれば とひたまふらし
神岳の 山の黄葉を 今日もかも 問ひ給はまし 明日もかも 見し賜はまし
かむおかの やまのもみちを けふもかも とひたまはまし あすもかも めしたまはまし
その山を 振り放け見つつ 夕されば あやに悲しび 明けくれば うらさび暮らし
そのやまを ふりさけみつつ ゆふされば あやにかなしみ あけくれば うらさびくらし
荒栲の 衣の袖は 干る時もなし
あらたへの ころものそでは ふるときもなし
(2)
藤原道信朝臣，『拾遺和歌集』
恒徳公の服ぶく脱ぎ侍るとて
1293 限りあれば今日ぬぎすてつ藤衣はてなき物は涙なりけり（0678）＊
(3)
『万葉集』（詠み人知らず）
02-0150 うつせみし 神に堪へねば 離れ居て 朝嘆く君 放り居て 我が恋ふる君 玉ならば 手に巻き持ちて 衣ならば 脱く時もなく 我が恋ふる 君ぞ昨夜の夜 夢に見えつる
(4)
平兼盛，『拾遺集』恋一・622
しのぶれど 色に出でにけり わが恋（こひ）は ものや思ふと 人の問ふまで
（40番）
(5)
待賢門院堀河，『千載集』恋三・802
長からむ 心も知らず 黒髪の 乱れて今朝は ものをこそ思へ
（80）
(6)
別所長治
もろともに消え果つるこそうれしけれおくれ先立つならひ なる世に
(7)
（都都逸）
とほくへだてて空うちながめ月が鏡になればよい
(8)
『金槐和歌集』，源実朝
出テイナハ主ナキ宿ト成ヌトモ軒端ノ梅ヨ春ヲワスルナ
(9)
黒木弘安
うす墨でかく玉章とみゆるかな くもるかすみに帰るかりがね
(10)
黒木弘安
写真術は造物者の画にして「光輝」は其筆なり
【資料】
In Ghostly Japan by Lafcadio Hearn
Author: Lafcadio Hearn
Bits of Poetry
I
Among a people with whom poetry has been for centuries a universal fashion of emotional utterance, we should naturally suppose the common ideal of life to be a noble one. However poorly the upper classes of such a people might compare with those of other nations, we could scarcely doubt that its lower classes were morally and otherwise in advance of our own lower classes. And the Japanese actually present us with such a social phenomenon.
Poetry in Japan is universal as the air. It is felt by everybody. It is read by everybody. It is composed by almost everybody,-- irrespective of class and condition. Nor is it thus ubiquitous in the mental atmosphere only: it is everywhere to be heard by the ear, and _seen by the eye_!
As for audible poetry, wherever there is working there is singing. The toil of the fields and the labor of the streets are performed to the rhythm of chanted verse; and song would seem to be an expression of the life of the people in about the same sense that it is an expression of the life of cicadae.... As for visible poetry, it appears everywhere, written or graven,--in Chinese or in Japanese characters,--as a form of decoration. In thousands and thousands of dwellings, you might observe that the sliding- screens, separating rooms or closing alcoves, have Chinese or Japanese decorative texts upon them;--and these texts are poems. In houses of the better class there are usually a number of gaku, or suspended tablets to be seen,--each bearing, for all design, a beautifully written verse. But poems can be found upon almost any kind of domestic utensil,--for example upon braziers, iron kettles, vases, wooden trays, lacquer ware, porcelains, chopsticks of the finer sort,--even toothpicks! Poems are painted upon shop-signs, panels, screens, and fans. Poems are printed upon towels, draperies, curtains, kerchiefs, silk- linings, and women's crepe-silk underwear. Poems are stamped or worked upon letter-paper, envelopes, purses, mirror-cases, travelling-bags. Poems are inlaid upon enamelled ware, cut upon bronzes, graven upon metal pipes, embroidered upon tobacco- pouches. It were a hopeless effort to enumerate a tithe of the articles decorated with poetical texts. Probably my readers know of those social gatherings at which it is the custom to compose verses, and to suspend the compositions to blossoming frees,-- also of the Tanabata festival in honor of certain astral gods, when poems inscribed on strips of colored paper, and attached to thin bamboos, are to be seen even by the roadside,--all fluttering in the wind like so many tiny flags.... Perhaps you might find your way to some Japanese hamlet in which there are neither trees nor flowers, but never to any hamlet in which there is no visible poetry. You might wander,--as I have done,--into a settlement so poor that you could not obtain there, for love or money, even a cup of real tea; but I do not believe that you could discover a settlement in which there is nobody capable of making a poem.
II
Recently while looking over a manuscript-collection of verses,-- mostly short poems of an emotional or descriptive character,--it occurred to me that a selection from them might serve to illustrate certain Japanese qualities of sentiment, as well as some little-known Japanese theories of artistic expression,--and I ventured forthwith, upon this essay. The poems, which had been collected for me by different persons at many different times and places, were chiefly of the kind written on particular occasions, and cast into forms more serried, if not also actually briefer, than anything in Western prosody. Probably few of my readers are aware of two curious facts relating to this order of composition. Both facts are exemplified in the history and in the texts of my collection,--though I cannot hope, in my renderings, to reproduce the original effect, whether of imagery or of feeling.
The first curious fact is that, from very ancient times, the writing of short poems has been practised in Japan even more as a moral duty than as a mere literary art. The old ethical teaching was somewhat like this:--"Are you very angry?--do not say anything unkind, but compose a poem. Is your best-beloved dead?-- do not yield to useless grief, but try to calm your mind by making a poem. Are you troubled because you are about to die, leaving so many things unfinished?--be brave, and write a poem on death! Whatever injustice or misfortune disturbs you, put aside your resentment or your sorrow as soon as possible, and write a few lines of sober and elegant verse for a moral exercise." Accordingly, in the old days, every form of trouble was encountered with a poem. Bereavement, separation, disaster called forth verses in lieu of plaints. The lady who preferred death to loss of honor, composed a poem before piercing her throat The samurai sentenced to die by his own hand, wrote a poem before performing hara-kiri. Even in this less romantic era of Meiji, young people resolved upon suicide are wont to compose some verses before quitting the world. Also it is still the good custom to write a poem in time of ill-fortune. I have frequently known poems to be written under the most trying circumstances of misery or suffering,--nay even upon a bed of death;-and if the verses did not display any extraordinary talent, they at least afforded extraordinary proof of self-mastery under pain.... Surely this fact of composition as ethical practice has larger interest than all the treatises ever written about the rules of Japanese prosody.
The other curious fact is only a fact of aesthetic theory. The common art-principle of the class of poems under present consideration is identical with the common principle of Japanese pictorial illustration. By the use of a few chosen words the composer of a short poem endeavors to do exactly what the painter endeavors to do with a few strokes of the brush,--to evoke an image or a mood,--to revive a sensation or an emotion. And the accomplishment of this purpose,--by poet or by picture-maker,-- depends altogether upon capacity to suggest, and only to suggest. A Japanese artist would be condemned for attempting elaboration of detail in a sketch intended to recreate the memory of some landscape seen through the blue haze of a spring morning, or under the great blond light of an autumn after-noon. Not only would he be false to the traditions of his art: he would necessarily defeat his own end thereby. In the same way a poet would be condemned for attempting any completeness of utterance in a very short poem: his object should be only to stir imagination without satisfying it. So the term ittakkiri--meaning "all gone," or "entirely vanished," in the sense of "all told,"-- is contemptuously applied to verses in which the verse-maker has uttered his whole thought;--praise being reserved for compositions that leave in the mind the thrilling of a something unsaid. Like the single stroke of a temple-bell, the perfect short poem should set murmuring and undulating, in the mind of the hearer, many a ghostly aftertone of long duration.
III
But for the same reason that Japanese short poems may be said to resemble. Japanese pictures, a full comprehension of them requires an intimate knowledge of the life which they reflect. And this is especially true of the emotional class of such poems,--a literal translation of which, in the majority of cases, would signify almost nothing to the Western mind. Here, for example, is a little verse, pathetic enough to Japanese comprehension:--
Chocho ni!..
Kyonen shishitaru
Tsuma koishi!
Translated, this would appear to mean only,--"Two butterflies!... Last year my dear wife died!" Unless you happen to know the pretty Japanese symbolism of the butterfly in relation to happy marriage, and the old custom of sending with the wedding-gift a large pair of paper-butterflies (ocho-mecho), the verse might well seem to be less than commonplace. Or take this recent composition, by a University student, which has been praised by good judges:--
Furusato ni
Fubo ari--mushi no
Koe-goe! (1)
--"In my native place the old folks [or, my parents] are--clamor of insect-voices!"
1 I must observe, however, that the praise was especially evokedby the use of the term koe-goe--(literally meaning "voice after voice" or a crying of many voices);--and the special value of the syllables here can be appreciated only by a Japanese poet.
The poet here is a country-lad. In unfamiliar fields he listens to the great autumn chorus of insects; and the sound revives for him the memory of his far-off home and of his parents. But here is something incomparably more touching,--though in literal translation probably more obscure,--than either of the preceding specimens;--
Mi ni shimiru
Kaze ya!
Shoji ni
Yubi no ato!
--"Oh, body-piercing wind!--that work of little fingers in the shoji!" (2).... What does this mean? It means the sorrowing of a mother for her dead child. Shoji is the name given to those light white-paper screens which in a Japanese house serve both as windows and doors, admitting plenty of light, but concealing, like frosted glass, the interior from outer observation, and excluding the wind. Infants delight to break these by poking their fingers through the soft paper: then the wind blows through the holes. In this case the wind blows very cold indeed,--into the mother's very heart;--for it comes through the little holes that were made by the fingers of her dead child.
2 More literally:--"body-through-pierce wind--ah! --shoji in the traces of [viz.: holes made by] fingers!"
The impossibility of preserving the inner quality of such poems in a literal rendering, will now be obvious. Whatever I attempt in this direction must of necessity be ittakkiri;--for the unspoken has to be expressed; and what the Japanese poet is able to say in seventeen or twenty-one syllables may need in English more than double that number of words. But perhaps this fact will lend additional interest to the following atoms of emotional expression:--
A MOTHER'S REMEMBRANCE
Sweet and clear in the night, the voice of a boy at study,
Reading out of a book.... I also once had a boy!
A MEMORY IN SPRING
She, who, departing hence, left to the flowers of the plum-tree,
Blooming beside our eaves, the charm of her youth and beauty,
And maiden pureness of heart, to quicken their flush and fragrance,--
Ah! where does she dwell to-day, our dear little vanished sister?
FANCIES OF ANOTHER FAITH
(1) I sought in the place of graves the tomb of my vanished friend:
From ancient cedars above there rippled a wild doves cry.
(2) Perhaps a freak of the wind-yet perhaps a sign of remembrance,--
This fall of a single leaf on the water I pour for the dead.
(3)I whispered a prayer at the grave: a butterfly rose and fluttered--
Thy spirit, perhaps, dear friend!...
IN A CEMETERY AT NIGHT
This light of the moon that plays on the water I pour for the dead,
Differs nothing at all from the moonlight of other years.
AFTER LONG ABSENCE
The garden that once I loved, and even the hedge of the garden,--
All is changed and strange: the moonlight only is faithful;--
The moon along remembers the charm of the time gone by!
MOONLIGHT ON THE SEA
O vapory moon of spring!--would that one plunge into ocean
Could win me renewal of life as a part of thy light on the waters!
AFTER FAREWELL
Whither now should! look?--where is the place of parting?
Boundaries all have vanished;--nothing tells of direction:
Only the waste of sea under the shining moon!
HAPPY POVERTY
Wafted into my room, the scent of the flowers of the plum-tree
Changes my broken window into a source of delight.
AUTUMN FANCIES
(1) Faded the clover now;--sere and withered the grasses:
What dreams the matsumushi(1) in the desolate autumn-fields?
(2) Strangely sad, I thought, sounded the bell of evening;--
Haply that tone proclaimed the night in which autumn dies!
(3)Viewing this autumn-moon, I dream of my native village
Under the same soft light,--and the shadows about my home.
1 A musical cricket--calyptotryphus marmoratus.
IN TIME OF GRIEF, HEARING A SEMI (CICADA)
Only "I," "I,"--the cry of the foolish semi!
Any one knows that the world is void as its cast-off shell.
ON THE CAST-OFF SHELL OF A SEMI
Only the pitiful husk!... O poor singer of summer,
Wherefore thus consume all thy body in song?
SUBLIMITY OF INTELLECTUAL POWER
The mind that, undimmed, absorbs the foul and the pure together--
Call it rather a sea one thousand fathoms deep!(2)
2. This is quite novel in its way,--a product of the University:
the original runs thus:--
Nigoreru mo
Sumeru mo tomo ni
Iruru koso
Chi-hiro no umi no
Kokoro nari-kere!
SHINTO REVERY
Mad waves devour The rocks: I ask myself in the darkness,
"Have I become a god?" Dim is The night and wild!
"Have I become a god?"--that is to say, "Have I died?--am I only a ghost in this desolation?" The dead, becoming kami or gods, are thought to haunt wild solitudes by preference.
IV
The poems above rendered are more than pictorial: they suggest something of emotion or sentiment. But there are thousands of pictorial poems that do not; and these would seem mere insipidities to a reader ignorant of their true purpose. When you learn that some exquisite text of gold means only, "Evening- sunlight on the wings of the water-fowl,"--or,"Now in my garden the flowers bloom, and the butterflies dance,"--then your first interest in decorative poetry is apt to wither away. Yet these little texts have a very real merit of their own, and an intimate relation to Japanese aesthetic feeling and experience. Like the pictures upon screens and fans and cups, they give pleasure by recalling impressions of nature, by reviving happy incidents of travel or pilgrimage, by evoking the memory of beautiful days. And when this plain fact is fully understood, the persistent attachment of modern Japanese poets--notwithstanding their University training--to the ancient poetical methods, will be found reasonable enough.
I need offer only a very few specimens of the purely pictorial poetry. The following--mere thumb-nail sketches in verse--are of recent date.
LONESOMENESS
Furu-dera ya:
Kane mono iwazu;
Sakura chiru.
--"Old temple: bell voiceless; cherry-flowers fall."
MORNING AWAKENING AFTER A NIGHT'S REST IN A TEMPLE
Yamadera no
Shicho akeyuku:
Taki no oto.
--"In the mountain-temple the paper mosquito-curtain is lighted by the dawn: sound of water-fall."
WINTER-SCENE
Yuki no mura;
Niwatori naite;
Ake shiroshi.
"Snow-village;--cocks crowing;--white dawn."
Let me conclude this gossip on poetry by citing from another group of verses--also pictorial, in a certain sense, but chiefly remarkable for ingenuity--two curiosities of impromptu. The first is old, and is attributed to the famous poetess Chiyo. Having been challenged to make a poem of seventeen syllables referring to a square, a triangle, and a circle, she is said to have immediately responded,--
Kaya no te wo
Hitotsu hazushite,
Tsuki-mi kana!
--"Detaching one corner of the mosquito-net, lo! I behold the moon!" The top of the mosquito-net, suspended by cords at each of its four corners, represents the square;--letting down the net at one corner converts the square into a triangle;--and the moon represents the circle.
The other curiosity is a recent impromptu effort to portray, in one verse of seventeen syllables, the last degree of devil-may- care-poverty,--perhaps the brave misery of the wandering student;--and I very much doubt whether the effort could be improved upon:--
Nusundaru
Kagashi no kasa ni
Ame kyu nari.
--"Heavily pours the rain on the hat that I stole from the scarecrow!"
III
蝶々に去年死したる妻恋し
ふるさとに父母あり 虫の声々
身にしみる風や障子に指のあと
冬の夜や遠く聞こゆる咿唔（いご）の声
うつり香を軒端の梅にとどめおきて
きこゑし妹（いも）はいづちいにけん
墓訪へば杉に鳩鳴く暮の秋
風そよと墓石へ桐の一葉かな
ぬかづけば墓から蝶の舞ひあがる
墓にそそぐ水やむかしの月の影
廃園に月の昔を思ふかな
海に入りて生れかはらばや朧月
方角も知らぬ海なり春の月
破れ窓もうれし梅が香風のまに
萩枯れて松虫何を夢むらん
秋行くと告ぐるにや鐘遠くより
ふるさとの木の蔭おもふ秋の月
世の中は蝉の抜殻何を泣く
歌に身を枯らす愚かや蝉の殻
濁れるも澄めるもともに容るるこそ
千尋の海の心なりけれ
怒濤岩を噛む我を神かと朧の夜
IV
古寺や鐘ものいはず桜散る
山寺の紙帳開けゆく滝の音
雪の村鶏鳴いて明け白し
蚊帳の手を一つはづして月見かな
盗んだる案山子の笠に雨急なりRecording, oral中島淑恵（富山大学人文学部教授）が，これまでの研究成果を踏まえ，Lafcadio Hearn=ラフカディオ・ハーン＝小泉八雲に関する様々を語る
これは，当日，会場でICレコーダを用いて収録したMP3形式の音声ファイル日時：2019年7月31日（水）13:00～14:30
場所：富山大学附属図書館2階ワーキングラ
Study on the progress of adsorptive voltammetry using carbon nanotube paste electrode in the presence of cationic surfactants
Get PDF富山大学博士（理学）Article富山大学・富理工博乙第34号・Ayesha Sultana・2019/03/26201