The Graduate University for Advanced Studies, SOKENDAI
SOKENDAI Institutional Repository (Graduate University for Advanced Studies)Not a member yet
5669 research outputs found
Sort by
Model Checking via Fixed Points in Categories and Lattices
Get PDF総合研究大学院大学博士（情報学）application/pdf総研大甲第2572号doctoral thesi
Distributed Learning Techniques for Dynamic Access Control in massive Machine-Type Communication
Get PDF総合研究大学院大学博士（情報学）application/pdf総研大甲第2576号doctoral thesi
The Process of Formation of the Rakuchū-rakugai-zu byōbu (folding screens of Kyoto): Reconsideration of the Picture from the Shōkokuji Temple Tower and the Asakura Version
Get PDFapplication/pdf「洛中洛外図屏風」は、京都の全景と共に、名所や祭礼行事、人々の生活を描く絵画であり、16世紀から18世紀にかけて多くの作品が制作された。筆者はその初期の諸作品について成立事情を研究しており、本誌第5号（2009年）に発表した研究ノートでは、記録にのみ残る、戦国大名朝倉氏が土佐光信に描かせた仮称「朝倉本」（1506年）について考察したが、関係する作品の研究が進んで、その位置づけを再考する必要が生じた。また、この問題と関連する、洛中洛外図屏風が相国寺七重塔からの眺望図が元になっている、という説について批判論文が出されたため、それについての反批判を行いたい。
相国寺七重塔は1470年に焼失しているため、「洛中洛外図屏風」に塔からの眺望が利用されたなら、それは「塔上からの絵」を介在させてのことになる。その利用という問題については、現存最古でオリジナルに近いと考えられていた「歴博甲本」（1525年頃）によって検討が行われてきたが、実は制作年代が下がる「上杉本」（1565年頃）の方が想定される「塔上からの絵」に近い。これは、「上杉本」が本来の幕府という意味で「花の御所」を描いているため、幕府が移動したことによって改変された「歴博甲本」よりも「塔上からの絵」に近いためである。同じ観点から考察すると、記録のみが残る「朝倉本」は「上杉本」に近いものだったと推定され、その直接の前提となったと見なせる。
「塔上からの絵」はおそらく景観を描いた絵に過ぎないが、洛中洛外図屏風の要素である、四季の祭礼行事や、町の様子という要素が加えられていったと考えられ、この過程についても、「朝倉本」がどのような段階にあったかという観点から考察することができる。洛中洛外図屏風が「塔上からの絵」から作られたことは、それ自体の問題よりも、このような洛中洛外図同士の系譜関係と、その成立過程を説明できることに意義がある。The Rakuchū-rakugai-zu byōbu (folding screens of Kyoto) is a series of paintings depicting famous places, festivals and events, and people’s daily lives along with panoramic views of Kyoto. In a research note published in Issue 5 of this journal (2009), the author discussed the Asakura version (1506), which exists only in records. The Asakura version was painted by TOSA Mitsunobu under an order from the Asakura clan, feudal lords of the Warring States period. However, research on related works has progressed, necessitating a reconsideration of its position. In addition, a critical paper has been published putting forth the theory that the Rakuchū-rakugai-zu byōbu are based on a view from the Shōkokuji temple tower, which is related to this issue. The author would like to offer a counter-criticism.
Since the Shōkokuji temple tower was destroyed by fire in 1470, if the view from the tower was used in the Rakuchū-rakugai-zu byōbu, it was through the intervention of a “picture from the tower”. The oldest surviving version of Rakuchū-rakugai-zu byōbu is the Rekihaku A version (ca. 1525), which is considered to be closer to the original and has been used to investigate this issue. However, the Uesugi version (ca. 1565), which was produced at a later date, is more similar to the assumed “picture from the tower”. This means that the Uesugi version depicts the Hana no Gosho (Palace of Flowers) as it was at the time of the original shogunate, and is therefore more similar to the “picture from the tower” than the Rekihaku A version, which had undergone later modifications due to the relocation of the shogunate. From the same perspective, the Asakura version, of which only records remain, is considered to be similar to the Uesugi version and can be seen as a direct predecessor of the Uesugi version.
It is considered that the elements of the Rakuchū-rakugai-zu byōbu, such as seasonal festivals and scenes of towns, were added over time to the “picture from the tower”, which is just a landscape. The Asakura version can also be examined from the perspective of the stage of this process. The significance of the fact that the Rakuchū-rakugai-zu byōbu was created from the “picture from the tower” lies in that it explains the genealogical relationship between the copies of Rakuchū-rakugai-zu byōbu and the process of their formation, rather than as a problem in itself.departmental bulletin pape
Layers of Erasure: The Joint Hospital Plan between Hiroshima University and the Atomic Bomb Casualty Commission in the 1950s
Get PDFapplication/pdfIn the mid-1950s, Hiroshima University School of Medicine proposed to establish a joint hospital for hibakusha—survivors of the atomic bombing—with the Atomic Bomb Casualty Commission (ABCC) in Hiroshima. This article examines the complex dynamics between the two organizations, challenging the dominant narrative of ABCC as a powerful, isolated entity in Japan. Facing financial struggles, the school’s dean Kawaishi Kunio applied for a grant from the US Foreign Operations Administration (FOA) and asked ABCC for assistance. Soon the plan was entangled with the US nuclear diplomacy toward Asia and expanded to include a US-donated medical reactor. In the end, a reactor as well as the “joint” part of the hospital were abandoned, and instead 108 million yen was donated to each hospital of Hiroshima and Nagasaki universities. This article explores the asymmetrical power relationship between the Japanese and American actors, revealing multilayered “erasure.” During negotiations, local Japanese actors focused on “peaceful uses of atomic energy” to maintain their fragile relationship at an optimum state, sidelining and erasing contentious issues related to harmful effects of radiation and hibakusha’s experiences. Later historical narratives erased local experts’ efforts to collaborate with ABCC, especially their promotion of “peaceful uses of atomic energy,” reinforcing the antagonistic narrative about ABCC. Uncovering these buried layers is crucial to fully understand how our knowledge about radiation has been produced and shaped in the bombed city of Hiroshima.journal articl
Sparse Modal Regression with Skew Noises
Get PDF総合研究大学院大学博士（統計科学）application/pdf総研大甲第2569号doctoral thesi
Transformerアーキテクチャを用いた小売店舗内顧客行動の生成およびその応用
Get PDF総合研究大学院大学博士（情報学）application/pdf総研大甲第2618号doctoral thesi
Intrinsically disordered region of histone methyltransferase Clr4 regulates its enzymatic activity in fission yeast
Get PDF総合研究大学院大学博士（理学）application/pdf総研大甲第2626号doctoral thesi
Promoting Appreciation and Production of Bijinga by Women’s Magazines in the Bunten Period: A Case Study on Fujin Gaho and Fujin Sekai
Get PDFapplication/pdf本論文では、文部省美術展覧会（文展）の開催期間（明治四十～大正七年）に発行された婦人雑誌が、女性による美人画の鑑賞と制作を促進したことを『婦人画報』と『婦人世界』を事例に検証する。
文展では美人画の人気が高まり、出品作品や作者が話題を呼んだ。特に日本画部の美人画が人々の関心を集めたことは、先行研究でも多数議論されている。
しかし、当時の美人画がどのような人々からの支持を得て、どのように享受されたのか、という点には未だ検討の余地がある。そこで、これまで稿者は、文展期において、女性たちが鑑賞・制作の両面から美人画を受容したことを、同時期に発行された婦人雑誌に基づいて明らかにして来た。本稿では、女性の美人画受容と婦人雑誌の関係についてさらに検証を重ね、女性たちが美人画を鑑賞し、制作したことの背景や要因について考察を深めた。
第一章では、婦人雑誌が読者に「美術趣味」の習得を推奨したことにより、女性の美人画鑑賞が促されたことを、浮世絵研究者の藤懸静也による『婦人画報』の記事を手がかりに考察した。良き家庭婦人の養成のために女性の美術趣味の修養を促進するという婦人雑誌側の狙いが背景となり、美人画は誌面で積極的に取り上げられ、読者に供給された。
第二章では、婦人雑誌における男性有識者の言論において、美人画こそが女性の美術制作の対象としてふさわしいと推奨されたことを明らかにした。しかし、その美人画を描くことも、あくまで家庭婦人のたしなみとしてなされることが要求された。女性による美人画の制作は、男性の考える女性の美術趣味、美術受容を逸脱しないことが期待されたのである。
第三章では、『婦人世界』が主催した読者応募型の企画「懸賞口絵」が美人画の投稿の場となり、読者に美人画制作を促したことを明らかにした。そこでは、女性名を騙った男性を含む投稿者によって、家事や芸事に勤しむ女性の姿が描かれた。懸賞口絵は、婦人雑誌の掲げた理想の家庭婦人像の、具体的なイメージを女性読者に普及する場としても機能していた。
以上によって、文展期において婦人雑誌というマスメディアが、女性に美人画の受容を促す役割を果たしたことを示した。女性による美人画の受容は、婦人雑誌が推進した、良妻賢母主義に根ざした家庭婦人の養成と深く関連しながら行われていたといえる。This paper examines the period during which the Bunten Exhibition (sponsored by the Ministry of Education) was held (1907–1918) and women’s magazines published during the same period that promoted the appreciation and production of Bijinga (portraits of beautiful women) by women.
Bijinga became increasingly popular at the Bunten Exhibition, and the works exhibited and their creators were the focus of much discussion. In particular, Bijinga of the Nihonga Department attracted people’s attention, which has been discussed in many previous studies.
However, there is still room to examine who supported Bijinga at that time and how Bijinga were enjoyed. The author has elucidated acceptance of Bijinga by women during the Bunten period, both in terms of appreciation and production, based on women’s magazines published during that period. This paper further examines the relationship between women’s acceptance of Bijinga and women’s magazines and deepens our discussion of the background and factors behind women’s appreciation and production of Bijinga.
Chapter 1 examines how women’s magazines encouraged their readers to acquire a “taste for art,” which in turn encouraged women to appreciate Bijinga, using an article in Fujin Gaho by Ukiyo-e researcher Shizuya Fujikake. Supported by the objective of women’s magazine to promote the cultivation of women’s taste for art in order to nurture good housewives, Bijinga were actively featured in the magazine and supplied to its readers.
Chapter 2 clarifies that male experts writing for women’s magazines recommended that Bijinga be an appropriate subject for women’s art production. However, the painting of Bijinga by women must be a genteel activity that falls within the category of domestic women’s activities. It was expected that the production of Bijinga by women should not deviate from men’s conception of women’s taste for and acceptance of art.
In Chapter 3, the author clarifies that the frontispiece competition, a reader-submitted project sponsored by Fujin Sekai, functioned as a forum for submitting Bijinga and encouraged readers to create their own Bijinga. The contributors of the prize-winning paintings, which depicted women engaging in household chores and artistic accomplishments included men pretending to be women. These prize-winning illustrations also functioned as a venue for disseminating to female readers the specific image of the ideal housewives that women’s magazines had set forth.
The author demonstrates that women’s magazines, as a form of mass media, played a role in encouraging women to accept Bijinga during the Bunten period. The acceptance of Bijinga by women was deeply connected to the cultivation of housewives rooted in the principle of a good wife and wise mother, which was promoted by the women’s magazines.departmental bulletin pape
Experimental study on density and magnetic fluctuations in H-mode plasma of LHD
Get PDF総合研究大学院大学博士（理学）application/pdf総研大甲第2558号doctoral thesi