24 research outputs found
De la novela de investigación de escritor a la dramaturgia transmedia. El libro de Toji de Antonio Rojano
No full textThis article analyzes the transmedia dramaturgy by Antonio Rojano entitled El libro de Toji. This work displays an investigation about a character from the past named Antonio Rojano Hornero, his life, participation in the Spanish Civil War and death in a Francoist prison, through five pieces in different platforms: blog, Twitter, podcast, Instagram and Zoom. The analysis of this transmedia work is carried out by comparing it with the conventional model of “writer’s research novels”, a narrative procedure strongly codified in the contemporary Hispanic novel. This work studies the possibilities of transmediality: multimodality of texts, construction of meaning from the decentering of the narrative center, questioning the status of the author and the work or the irruption of a new reading experience.Este artículo analiza la dramaturgia transmedia de Antonio Rojano titulada El libro de Toji. Esta obra despliega una investigación sobre un personaje del pasado llamado Antonio Rojano Hornero —su vida, participación en la guerra civil española y su muerte en una cárcel franquista—, a través de cinco piezas que transitan por diferentes plataformas: blog, Twitter, pódcast, Instagram y Zoom. El análisis de esta obra transmedia se realiza por comparación con el modelo convencional de “novelas de investigación de escritor”, procedimiento narrativo fuertemente codificado en la novela hispánica contemporánea, y estudia las posibilidades de la transmedialidad: multimodalidad de los textos, construcción de sentido a partir del descentramiento del centro narrativo, cuestionamiento del estatuto del autor y de la obra o la irrupción de una nueva experiencia de lectura
Material of Art Research: Column Paintings of the Kanjo-in in the Toji
No full textIn Tobōki, a collection of historical and religious records of the Tōji (Kyōōgokokuji) Monastery, Kyoto, compiled by Priest Kōhō in 1352, there is a section for the Kanjō-in, the Ordination Hall, of the monastery, in which he
records that at the request of the Prince-Priest Shukaku the main columns in the hall were painted with Buddhist images under the management of Priest Gyōen in the second year of Kenkyū Era (1191). According to it, the column paintings were lost when the hall was destroyed by fire in 1252, and we had had no clew to get detailed idea on them. But the author recently recovered a manuscript in the library of the
Kanchi-in, Toji, which includes among others an article on the column paintings of that hall. Here in this number he, with an introduction, first publishes this manuscript named “Arrangement of Cult Images in the Main Hall, the Lecture Hall and the Ordination Hall of the Tōji Monastery.”
This manuscript, which consists of some records written by Priest Gyōen (Bodai-in) and others, was copied by Kempō in 1370 without knowing its compiler. We find in it two plans of the column paintings of the Kanjō-in. Both are shown in the form of a diagram in which the lay-out of principal images of the Ryōkai mandara, the Garbhadhatu and the Vajradhatu mandalas, is indicated. In either plan, as a rule, each column is divided into three sections, upper, middle and lower; and the upper and the middle sections having six images in two horizontal rows in each and the lower section two or three in one row. The first plan probably presented by Priest Enkū was not used, whose letters are inserted after the diagram in the ma The second plan, which seems more reasonable from the view-point of mandala arrangement, was prepared by Priest Ryūyo of Kōyasan Monastery, is mentioned in an accompanying record that was originally written by Gyōen. In the author's opinion this plan was adopted for the actual painting.
In the Kanjō-in then reconstructed, the architraves too were covered with painted mandala images. Famous Buddhist painter Shōga was consulted for their lay-out. It is interesting to find that deities were applied to this part of the building for a rare case.journal articl
Material of Art Research: Appendix (Text Publication): Toji Kondo Kodo Kanjo-in Honzon Zai (Arrangement of Cult Images in the Main Hall, the Lecture Hall and the Ordination Hall of the Toji Monastery)
No full textIn Tobōki, a collection of historical and religious records of the Tōji (Kyōōgokokuji) Monastery, Kyoto, compiled by Priest Kōhō in 1352, there is a section for the Kanjō-in, the Ordination Hall, of the monastery, in which he
records that at the request of the Prince-Priest Shukaku the main columns in the hall were painted with Buddhist images under the management of Priest Gyōen in the second year of Kenkyū Era (1191). According to it, the column paintings were lost when the hall was destroyed by fire in 1252, and we had had no clew to get detailed idea on them. But the author recently recovered a manuscript in the library of the
Kanchi-in, Toji, which includes among others an article on the column paintings of that hall. Here in this number he, with an introduction, first publishes this manuscript named “Arrangement of Cult Images in the Main Hall, the Lecture Hall and the Ordination Hall of the Tōji Monastery.”
This manuscript, which consists of some records written by Priest Gyōen (Bodai-in) and others, was copied by Kempō in 1370 without knowing its compiler. We find in it two plans of the column paintings of the Kanjō-in. Both are shown in the form of a diagram in which the lay-out of principal images of the Ryōkai mandara, the Garbhadhatu and the Vajradhatu mandalas, is indicated. In either plan, as a rule, each column is divided into three sections, upper, middle and lower; and the upper and the middle sections having six images in two horizontal rows in each and the lower section two or three in one row. The first plan probably presented by Priest Enkū was not used, whose letters are inserted after the diagram in the ma The second plan, which seems more reasonable from the view-point of mandala arrangement, was prepared by Priest Ryūyo of Kōyasan Monastery, is mentioned in an accompanying record that was originally written by Gyōen. In the author's opinion this plan was adopted for the actual painting.
In the Kanjō-in then reconstructed, the architraves too were covered with painted mandala images. Famous Buddhist painter Shōga was consulted for their lay-out. It is interesting to find that deities were applied to this part of the building for a rare case.journal articl
The effects of flower visitors on intraspecific trait variation in some entomophilous plants （虫媒植物の種内形質変異に対して訪花者がもたらす影響）
No full text信州大学(Shinshu university)博士（理学）この博士論文は、次の学術雑誌論文を一部に使用しています。 / PLANT SPECIES BIOLOGY 35(2) :112-119(2020); doi:10.1111/1442-1984.12265 © 2020 The Ecological Society of Japan. All rights reserved/ ECOSPHERE 11(9) :e03251(2020); doi:10.1002/ecs2.3251 ©2020 The Authors. This is an open access article under the terms of the Creative Commons AttributionLicense, which permits use, distribution and reproduction in any medium, provided the original work is properly cited./ BMC ECOLOGY AND EVOLUTION 21(1) :64(2021); doi:10.1186/s12862-021-01796-8 © The Author(s) 2021. Open Access This article is licensed under a Creative Commons Attribution 4.0 International License, which permits use, sharing, adaptation, distribution and reproduction in any medium or format, as long as you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons licence, and indicate if changes were made. The images or other third party material in this article are included in the article’s Creative Commons licence, unless indicated otherwise in a credit line to the material. If material is not included in the article’s Creative Commons licence and your intended use is not permitted by statutory regulation or exceeds the permitted use, you will need to obtain permission directly from the copyright holder. To view a copy of this licence, visit http://creativecommons.org/licenses/by/4.0/. The Creative Commons Public Domain Dedication waiver (http://creativecommons.org/publicdomain/zero/1.0/) applies to the data made available in this article, unless otherwise stated in a credit line to the data./ ECOLOGY AND EVOLUTION 12(3) :e8668(2022); doi:10.1002/ece3.8668 © 2022 The Authors. Ecology and Evolution published by John Wiley & Sons Ltd./ American Naturalist :inpressThesis田路 翼. The effects of flower visitors on intraspecific trait variation in some entomophilous plants （虫媒植物の種内形質変異に対して訪花者がもたらす影響）. 信州大学, 2022, 博士論文. 博士（理学）, 甲第138号, 令和04年03月20日授与.doctoral thesi
ACE inhibitory effect of the protein hydrolysates prepared from commercially available nori product by pepsin-trypsin digestion
No full textWe studied angiotensin I converting enzyme (ACE) inhibitory effect of the protein hydrolysates prepared from commercially available nori products that contain Pyropia pseudolinearis as the main ingredient. The water extract of the nori product consisted mainly of phycobiliproteins and RubisCO. The proteins in the aqueous extracts were sequentially hydrolyzed with pepsin and trypsin, and the peptides in the pepsin-trypsin digests were fractionated by reversed-phase HPLC. As a result, 12 ACE inhibitory peptides containing ten novel peptides were identified. These peptides are suggested to have originated from the alpha- and beta-subunits of phycobiliproteins and the large subunits of RubisCO of P. pseudolinearis. The interactions of eight peptides (ALR, FAR, FSR, FDR, EVYR, AYR, GRP, and MVT) with ACE were then simulated using the flexible docking tool Auto Dock Vina. The results showed that all peptides interacted with the active center of ACE, and their docking scores ranged from - 6.8 to - 10.2 kcal/mol. In addition, we synthesized four peptides (AYR, FAR, EVYR, and GRP) and measured the IC50 values of these peptides for ACE. Consequently, FAR and GRP showed considerably low IC50 values (0.29 mu mol and 0.45 mu mol, respectively) in addition to other ACE inhibitory peptides. Moreover, FAR, which is specific to the nori product, was predicted to bind to the S1, S1 ', and S2 ' subsites of the catalytic center of ACE. Therefore, it can be expected that daily intake of "nori products" may have a positive effect on the prevention of hypertension
Structural analysis for glycolipid recognition by the C-type lectins Mincle and MCL
No full textMincle [macrophage inducible Ca2+-dependent (C-type) lectin; CLEC4E] and MCL (macrophage C-type lectin; CLEC4D) are receptors for the cord factor TDM (trehalose-6,6'-dimycolate), a unique glycolipid of mycobacterial cell-surface components, and activate immune cells to confer adjuvant activity. Although it is known that receptor-TDM interactions require both sugar and lipid moieties of TDM, the mechanisms of glycolipid recognition by Mincle and MCL remain unclear. We here report the crystal structures of Mincle, MCL, and the Mincle-citric acid complex. The structures revealed that these receptors are capable of interacting with sugar in a Ca2+-dependent manner, as observed in other C-type lectins. However, Mincle and MCL uniquely possess shallow hydrophobic regions found adjacent to their putative sugar binding sites, which reasonably locate for recognition of fatty acid moieties of glycolipids. Functional studies using mutant receptors as well as glycolipid ligands support this deduced binding mode. These results give insight into the molecular mechanism of glycolipid recognition through C-type lectin receptors, which may provide clues to rational design for effective adjuvants
Sculpture of the Toji in Its Earliest Period
No full textFrom around the seventh century, that is about one century after Buddhism was introduced into Japan, it became more of a wide-spread belief than merely a religion indulged in by the imperial family and the nobility class as had been the case earlier. And at the same time there emerge two different ways of adorning the interior of a temple : splendor and simplicity. This is presumed by the facts that the inside of many government-supported temples and the like were decorated gorgeously with large embroidered Buddhas and other deities, while, in the cace of the rather humble temples constructed either by a particular clan or with the co-operation of the common people, the inner faces of the walls were merely set with Buddhist terra-cotta plaques.
Then in the eighth century, when many temples were built under the enthusiastic encouragement of the emperors, it seems that the materials and probably even the sculptors were different for the temples built by the government and the temples built by private individuals. The Buddhist sculptures made in the workshops of the government-sponsored temples were gilt bronze, lacquer and clay figures, as is recorded in documents in the Shōsōin and the old catalogue of the property of the Saidaiji. On the other hand, most of the images of the other type of temples are wooden, as in the cases of the eleven-headed Avalokiteśvara, the main image of the Hasedera made by Priest Mangan, and the Buddhist images of private temples referred to in the literature called Nihon Ryōiki. It was natural to see some exceptions. There must have been case when gilt bronze images were placed in private temples and also when such an eclectic technique as wood-core dry lacquer was adopted by sculptors of workshops of the govermentsupported temples at the end of the Nara Period. However, these chief trends of gilt bronze, lacquer and clay figures of the governmental temples, and wooden figures of private temples were passed on as they were into the Heian Period intact.
After the official workshop of the Hokkeji was abolished in the first year of the Enryaku Era (782) and the official workshop of the Tōdaiji was closed in the eighth year of the same era (789), the organization of the sculptors belonging to the governmental temples, where many artists were engaged in single projects, was dismantled and the trend of wooden sculpture in the traditional line fostered by the abovementioned private temples rapidly formed its own clear current. According to the author, it is exemplified by such pure wooden sculptures as Bhaișajyaguru of the Jingoji and the same Buddha of the Shin-yakushiji, which are presumed to have been produced at the end of the eighth or at the beginning of the ninth century.
Here the important question is how the tradition of sculpture in the governmental temples developed after the Nara Period. The author considers that the tradition was continued at least partially in the works for the Tōji (Kyōōgokokuji) and the Saiji, the twin big governmental temples whose constructions were started just after the transfer of the capital to Kyoto in the thirteenth year of the Enryaku Era (794). Original sculptures of the Saiji are not extant at all and a Bhaişajyaguru and two attendants in the Golden Hall of the Tōji, which were made in its inauguration period, were also lost and were replaced by later statues. But, some extant contemporary works, which are regarded as having followed the style and the technique of dry lacquer of the Nara Period, for instance, the three Shinto images of the Tōji Hachimangū and the five Bodhisattvas, five Vidyārājas, Brahma and Indra of the Lecture Hall of the Tōji speaks eloquently of this fact. A comparative study of most of them with the remaining examples of the Nara Period is not easy. For instance, we do not have examples of Shinto images from Nara Period comparable to the three Shinto imges of the Tōji Hachimangū, and the statues in the Lecture Hall are of an Esoteric Buddhist type introduced to Japan by Kūkai, and have a different form than those of the Nara Period. Nevertheless, there is a distinctive similarity between these works and some sculptures of the Nara Peirod not only in the technique of dry lacquer, which was used partially by the former, but also in the expressions of their details. These similarities additionally suggest that the sculptures of the Tōji and the Tōji Hachimangū now in question are in the line of the sculptural tradition associated with the government's temples in the Nara Period. Thus, we can point to the treatment of the drapelly pleats around the knees of the goddess of the three Shinto images as close to the style of the Amitābha in the central room of the Dempodo Hall, Hōryūji, and that the treatment of the drapery and the graceful countenance of the Bodhisattvas of the Lecture Hall apparently have the orthodox dry lacquer tradition of the Nara Period as their background.
However, it is no use to say that they are not stereotyped copies of Nara Period sculpture. They embody severe spiritual profundity and the mysterious power peculiar to the Esoteric Buddhist sculpture which is not seen in graceful and familiar-looking works of the Nara Period. These works of the Tōji show a style based on the harmony of the excellent technical traditions of the Nara Period, the forceful guidance of high priests such as Kūkai, and the freshness of the iconography of Esoteric Buddhism newly introduced from China. This new-born style is followed by the artists of such images as five Ākāśagarbha of the Jingoji, Cintāmanicakra of the Kanshinji and the two images in the same temple said to be Ratnasambhava and Maitreya as Buddha. These works were all made by order of the disciples of Kūkai. From the middle of the ninth century, however, one can discern mutual technical and stylistic influences between this trend and the trend of pure wooden sculpture. For instance, the ripple-like drapery pleats which had been peculiar to the pure wooden sculptures was fused with the trend of the dry lacquer technique of the Nara Period. In the latter half of the ninth cetury, these two trends intermingled to form a complex development.journal articl
Nicotinic acetylcholine receptors in a songbird brain
No full textNicotinic acetylcholine receptors (nAChRs) are ligand-gated ion channels that mediate fast synaptic transmission and cell signaling, which contribute to learning, memory, and the execution of motor skills. Birdsong is a complex learned motor skill in songbirds. Although the existence of 15 nAChR subunits has been predicted in the avian genome, their expression patterns and potential contributions to song learning and production have not been comprehensively investigated. Here, we cloned all the 15 nAChR subunits (ChrnA1-10, B2-4, D, and G) from the zebra finch brain and investigated the mRNA expression patterns in the neural pathways responsible for the learning and production of birdsong during a critical period of song learning. Although there were no detectable hybridization signals for ChrnA1, A6, A9, and A10, the other 11 nAChR subunits were uniquely expressed in one or more major subdivisions in the song nuclei of the songbird brain. Of these 11 subunits, ChrnA3-5, A7, and B2 were differentially regulated in the song nuclei compared with the surrounding anatomically related regions. ChrnA5 was upregulated during the critical period of song learning in the lateral magnocellular nucleus of the anterior nidopallium. Furthermore, single-cell RNA sequencing revealed ChrnA7 and B2 to be the major subunits expressed in neurons of the vocal motor nuclei HVC and robust nucleus of the arcopallium, indicating the potential existence of ChrnA7-homomeric and ChrnB2-heteromeric nAChRs in limited cell populations. These results suggest that relatively limited types of nAChR subunits provide functional contributions to song learning and production in songbirds
The Toji Version of Scroll Painting of the Story of Priest Kukai
No full textBesides the Tōji Version of Scroll Painting of the Story of Priest Kūkai, there are several known versions of handscroll sets treating the same theme, including three extant hand-painted sets and a wood-block-printed version. The unique point of the Tōji Version, consisting of twelve scrolls, is that it was edited by the Kyōōgokokuji (Tōji) itself which was founded by Priest Kūkai. Therefore, there are some differences in content from the other versions. For instance, Scroll 11 contains among other things the scene of Kanjōe ritual in the Kyōōgokokuji which is not seen in other versions.
Recently, a record concerning the production of this set was found in the Kyōōgokokuji Archives owned by Kyoto Prefectural Sōgō Shiryōkan (Cf. Zoku Zuroku Tōji Hyakugō-monjo, pp. 176ff.). Accordiug to the record, the set was produced in the period from the seventh year of Ōan Era (1374) to the first year of Koo Era (1389). And, Scrolls 1 to 4 were painted by Yūkō, a Buddhist painter of Nara, Scrolls 4 to 10 were by Hisayuki KOSE, Scroll 11 was by Yukitada KOSE and Scroll 12 was by another painter. An interesting fact is that Scroll 11 is recorded to have “repainted” by Yukitada KOSE, who was a painter of the Kyōōgokokuji. The question is why only this scroll was repainted. As was mentioned above, this volume contains the scene of Kanjōe, one of the most important rituals in the temple, which was observed when a certain clerical title was given to someone.
On the other hand, there remains in a private collection a draft painting for the first part of the scene of Kanjōe in this scroll. A procession of the participants moving toward the hall is depicted here and the figures of monks in the procession are accompanied by inscriptions which indicate their names, the objects they hold and the kinds of robes they wear. These explanations meet exactly with what are recorded in the document of the temple, Tōbōki, compiled in 1353. Moreover, the information which is not in the document is absent from the draft as well. This means that the inscriptions in the draft are based on the same record.
Scroll 11 must have been re-painted by the painter of the temple to give a more exact depiction of this scene. The final work, of course, has the same arrangement and the same details as the draft. The author interprets it as an example of handscroll painting production in which the topics related to a given priest are quite faithfully depicted.journal articl
Bronze Seals of Old Times as Archaeological Materials（IV. Studies / 2. Papers on Ancient Seals : Excavated Seals, Inherited Seals and Seal Marks）
No full textapplication/pdf古代銅印は，近年発掘調査による出土例が増加している文字資料の一つである。銅印については，これまでさまざまな視点からの集成作業や研究が行われてきたが，考古資料としての位置付けは必ずしも充分に果たされているとはいいがたい。そこで本稿では発掘調査による出土例をもとに，古代銅印の考古資料としての評価の方途を探ることとしたい。
古代銅印とは，主として奈良・平安時代に属するものを指すが，その編年的位置付けにはなお多くの課題を残している。出土資料では私印の範疇に属するものが大半を占めているが，考古学的観察を通じていくつかの特徴を指摘することができる。その形態には大別して「弧鈕」と「莟鈕」があるが，鈕孔の有無や基部の装飾の相違などによってさらに細分が可能である。印面には基本的に氏もしくは名の一部が刻まれたものと思われるが，一字印のなかには複数の資料で同一の文字を有する例が認められる。出土遺跡は関東・中部地方を中心としてほぼ全国に及び，遺跡の性格には都城跡・官衙跡・寺院跡・集落跡・祭祀跡など多様なものがある。銅印の出土状況には，竪穴住居跡から検出されたものや，一部には人為的な埋置を想定されるものが認められている。
さらに鋳造痕跡をとどめる資料やいくつかの遺跡における鋳型の出土によって，これまで推定の域を出ることがなかった古代銅印製作の技術的過程や鋳造遺跡の実態に迫る手がかりを得ることが可能となった。
出土銅印のなかには赤色顔料の付着が認められるものがあり，実際に押捺に供された可能性を持つものの存在を想定させるが，今後は観念的側面を含めた多様な存在形態の可能性を視野に入れつつ，他の文字資料を含めた律令的文字文化全体の展開のなかで評価を推し進める必要があろう。The bronze seal of old times is one of the materials to study letters which are found many times in recent researches by excavation. Collection work and studies have been conducted so far on bronze seals from various viewpoints. However, we cannot necessarily say that the positioning of bronze seals as Archaeological materials was conducted in a sufficient manner. For this reason, based on samples found in excavating surveys, the author intends to explore a method to evaluate bronze seals of old times as Archaeological materials.
The bronze seals of old times means the bronze seals which were mainly created in the eras of Nara and Heian, but there are still many assignments unsolved with respect to their positioning in chronological sequence. A large percentage of excavated materials falls into the genre of private seals, but archaeological observations help point out some characteristics. The forms of bronze seals are roughly classified as “ko-chu”（弧鈕）and“gan-chū”（莟鈕）, and a further minute classification is possible according to the presence of “chū-kō”（鈕孔） and the difference in decorations at the base of a seal. Essentially the family name or part of the personal name is considered to have been engraved in the seal surface. Concerning one-character seals, a plural number of materials bear the same letter. The ruins where such seals were excavated range from the districts of Kantō and Chūbu, covering almost all the areas of the national land. The kinds of the related ruins are the ruins of capital city, government offices, temples, communities, and sites for religious rites. Some bronze seals were found from pit dwellings, and in some cases, seals were intentionally buried. Excavation of materials which have casting marks on themselves and casting molds from some ruins has provided clues for determining technical processes for manufacture of bronze seals and casting ruins which were left unconfirmed previously.
Red pigment is deposited on some excavated seals, which permits an assumption that the seals actually used for seal marking really existed. In the future, it will be necessary to promote evaluations all through the development of the entire culture of letters based on Ritsuryō（律令）system including other materials related to letters in other fields, with a perspective of the possibility that bronze seals existed in various forms including conceptional aspects.departmental bulletin pape
