KANAGAWA University Repository
Not a member yet
13891 research outputs found
Sort by
Emotional Development across Infancy, Childhood, Adolescence, and Early Adulthood ： The Relationship between Parenting Styles and Emotion Regulation
Full text link論文departmental bulletin pape
A Study of the Way on the Future Mathematics Education ： Will Mathematics Education Be Replaced by Information Education?
Full text link研究ノートdepartmental bulletin pape
Youth Work for Young Adults from University Students to Early Career Professionals through Volunteer Work Camps
Full text link指導法・実践報告departmental bulletin pape
Electrospray Deposition of Thin Films for a New Electronic Device: Application of a New Electrospray Source to TiO2 Films Deposition
Full text link工学研究所共同研究departmental bulletin pape
“Development of Novel Battery towards New Low Carbon Energy Society (9)”
Full text link工学研究所プロジェクト研究departmental bulletin pape
Long-term measurements on heat sources for hot water supply in a hospital
Full text link工学研究所プロジェクト研究departmental bulletin pape
The Sustainability and Transformation of Traditional Ecological Knowledge（TEK） ： A Case Study of Two Villages in Qinghai-Tibet Region, China
Full text link青海チベット地区における伝統的な牧畜生活において、1990 年以降、中国中央政府は環境保全と貧困削減を名目に、この地域において自然放牧地の私有化政策および生態移民政策を実施した。これにより、各世帯ごとの家畜の頭数や利用可能な自然放牧地が制限されるとともに、移動性が重要視される牧畜民の伝統的な生態学的知識にも影響が及んだ。
本研究では、これらの政策が導入され変革が起こった地域から、具体的な事例として二つの村を選定し、それぞれの村における世帯A および世帯B を対象とした。各世帯において、伝統的な牧畜生活における自然放牧地の利用方法および家畜管理方法に見られる伝統的な生態学的知識の実態に焦点を当てた。その結果、制限された自然放牧地では本来の牧畜形態を継続することが難しくなり、他の地域から自然放牧地を借りて移動放牧を行っていることが明らかとなった。こうした状況の中で、自然放牧地の利用法や家畜管理法における伝統的な生態学的知識は、臨機応変に適応する側面が見られる一方で、適応が難しくなり、次第に消失している部分も見受けられた。In the context of traditional pastoral livelihoods in the Qinghai-Tibet region, the Chinese central government, since 1990, has implemented policies pertaining to grassland privatization and ecological migration ostensibly for environmental conservation and poverty reduction. Consequently, these measures have imposed limitations on the livestock numbers and available pastureland for each household, concurrently influencing the traditionally significant ecological knowledge of pastoralists, particularly in terms of mobility. This study selects two villages as case studies from regions where these policies were enacted, focusing on households A and B in each village.
The research centers on the practical manifestations of traditional ecological knowledge evident in the utilization of pastureland and the management practices of livestock within the context of traditional pastoral livelihoods. As a result of restricted pastureland, the original pastoral forms were unsustainable. In response, pastoralists leased pastureland in other regions, revealing their adaptability. Importantly, this adaptive strategy has allowed the preservation of traditional
ecological knowledge without its erosion, showcasing the pastoralists’ capacity to flexibly respond to challenges while effectively utilizing their knowledge base. However, cectain aspects have become increasingly difficult to adapt, leading to their gradual disappearance.論文departmental bulletin pape
Lu Xunʼs Introduction to Foreign Prints ： Morning Flowers in the Garden of Art and its Japanese Model
Full text link中国近代の著名な文学者である魯迅は、中国新興木版画運動の唱道者としても知られる。
「中国に新興美術が出現することを切に願う」 魯迅は、1927 年に上海へ移り住むと、中国に新しい藝術の種を蒔くための第一歩として、外国の優れた版画作品の原画や画集、美術書を大量に購入し、出版や展覧会などの紹介活動を展開した。
本稿では魯迅による外国版画作品の本格的な紹介の嚆矢として知られる『藝苑朝華』叢書と、そのモデルとなった可能性の高い日本のプレート図集叢書『意匠美術写真類聚』に焦点をあてる。『意匠美術写真類聚』が『藝苑朝華』の参考モデルであることを実証的に論じた上で、両書の多角的な比較を通して、『藝苑朝華』の特徴及び刊行計画当初における魯迅の美術普及観を明らかにすることが本稿の目的である。
『藝苑朝華』は当初12 集の刊行が計画された。実際に出版されたのは5 集であるが、予定されていた全目録のうち、『意匠美術写真類聚』の目録と同じものが2 集存在する。また、両書の表紙デザインや製本方法にも類似性が確認できる。
『意匠美術写真類聚』と『藝苑朝華』を比較してみると、共通点のみならず、相違点も見いだすことができる。魯迅は中国の読者の関心を意識し、当時上海で流行していた蕗谷虹児の画集を採り入れ、『意匠美術写真類聚』には含まれていないイギリス・フランス・ロシアの創作木版画と挿画を重視していた。一方、『藝苑朝華』を企画した時点において、魯迅はドイツ藝術や表現主義を取り上げていない。また『藝苑朝華』の対象読者として、魯迅はすでに篆刻の技術を持つ美術家や美術愛好家を想定していたものの、青年美術家や美大生が想定内にいたことは確認できない。魯迅がドイツ表現主義美術について理解を深め、若い青年美術家を想定した『セメントの図』の出版へとつながるのは、『藝苑朝華』刊行計画の後から始まると考えられる。Lu Xun, a famous writer in modern China, is also known as a pioneer of the New Woodcut Movement. Wishing for the emergence of new art in China, Lu Xun started to purchase a large number of foreign prints and art books, and actively introduced them to domestic audience through publications and exhibitions since he moved to Shanghai in 1927.
This paper focuses on the series Morning Flowers in the Garden of Art（藝苑朝華）, known as the first series of foreign print works published by Lu Xun, and its likely model, the Japanese plate picture collection series Ishou Bijutsu Shashin Ruiju（意匠美術写真類聚）. The paper demonstrates that Ishou Bijutsu Shashin Ruiju served as a reference model for the Morning Flower series and through a comparative analysis of both series, it investigates some characteristics of the Morning Flower series as well as Lu Xunʼs perspective on art promotion at the initial stage of publishing it.
The Morning Flower series was originally planned to contain twelve volumes. Although only five volumes were actually published, two of the planned volumes shared the same titles as those of Ishou Bijutsu Shashin Ruiju. Additionally, similarities in cover design and binding methods can be observed between the two series.
Comparing Ishou Bijutsu Shashin Ruiju and Morning Flowers in the Garden of Art one can find not only similarities but also differences. Lu Xun, paying attention to the interests of Chinese readers, incorporated a collection of works by a Japanese illustrator Fukiya Koji, who was quite popular in Shanghai at the time. Besides, Lu Xun placed emphasis on British, French, and Russian creative woodcuts and illustrations, which were not on the list of Ishou Bijutsu Shashin Ruiju collections. On the other hand, when planning the Morning Flower series Lu Xun did not select works of German art or Expressionism. Furthermore, he envisioned the target readers of the Morning Flower series to be art lovers and artists who were already skilled in seal carving, but it was unlikely that he considered young artists and art students to be his target readers. It would be reasonable to say that Lu Xunʼs deeper understanding of German Expressionist art and the communication with young Chinese artists, which led to the publication of Cement, a series of German Expressionist works by Carl Meffert, began after the publication of the Morning Flower series.論文departmental bulletin pape
