18 research outputs found
An Ink-slab Box with So-called Kodaiji Makie Decoration and Lacquer Wares with Makie in the Kodaiji
No full textHandicraft designs of the Momoyama Period are gorgeous and fresh and mark an epoch in the history of Japanese handwork. The Kōdaiji has a household shrine with makie (lacquer painted and decorated in gold) dated 1596 and furniture with makie which was used by TOYOTOMI, Hideyoshi (1536—1598, a war lord) which exemplify the handicrafts of that period. Lacquer wares of the same style and technique are, in general, called “Kōdaiji makie.”
In this paper the author discusses the characteristics of the design of an ink-slab box of this style in relation to the makie wares in the Kōdaiji.
In the Kōdaiji, there is a letter box with the same kind of decoration as this ink-slab box. Both of them have diagonally divided picture planes; a section on the ink-slab box has a design of pine trees imitating the Kano School painting of that time, and one on the letter box has the same kind of bamboo design. Both show a traditional taste. In another section of the former, stemmed chrysanthemums and other flowers are patternistically rendered and in another section of the latter, autumn grasses are represented in a naturalistic way but with the same kind of patternistic flowers and leaves. The style and the technique of both are quite similar. And, further, the design of autumn grasses of the letter box has characteristics in common with that of the household shrine, which is stylistically close to the paintings of the Kano School of the day. These facts suggest that the design of the chrysanthemum of the ink-slab box has some relation to contemporary painting. The method of deco
ration using diagonal divisions is said to have been borrowed from the design pattern of costumes. But since it has earlier example in makie works of the Muromachi Period, the author considers that those now in question are a development of them. In other words, the design of this inkslab box combines two kinds of design principles. One is a pattern borrowed from the then prosperous Kano School of painting and is traditional in compositional method and technique. The other also is based on the Kano School of painting but is stylistically newer and bolder.
It is said that KANO, Mitsunobu (1561—1608), a famous painter of the Kano School, may have some connection with the makie designs of the Kōdaiji. Although there may be that kind of possibility, no one has clarified it. The household shrine was made by Chōan, the seventh master of the Kōami Family (1569–1610), and others; and other pieces of furniture are also said to have been made by the same people. This inkslab box also must have the same origin. However, judging from the rigidity of the expression, it may date from a little later.
The platform on which the household shrine is placed also has makie design and an inscription. The inscription suggests that it was made by a group led by a younger brother of Chōan. On the other hand a priest's chair is decorated with several patterns of different quality from the others. As Chōgen (died in 1607), a younger brother of Chōan, created a unique design, there is a probability that he had some relation to it.journal articl
地域をつなぐ「声」 : 音響メディアにおける「声」とジェンダーの変遷
No full text本稿の目的は、ラジオ放送における「声」とそのジェンダーの変遷を、メディア史、および、ラジオ史をたどることによって明らかにすることである。まず、草創期の音響メディアの歴史を概観し、電話やラジオを、現在のような特定の形態のメディアとして存立させていったのは社会であったことを確認する。マスでもパーソナルでもないコミュニケーションの結節点の「声」として女性が活用されたが、産業合理化の過程で「声」の規格化などが理由となり、メディアは、現在の姿へと変容した。次に、メディアは社会に生成されるという視座にたち、それぞれのメディアが今日の形態へと編成され、ラジオが、マス・.メディアとして成立してからのコミュニケーションの変容と、その「声」とジェンダーの変遷を、放送史に沿ってたどることにしたい。ラジオのコミュニケーションを考察する際、欠かすことができないのはラジオパーソナリティである。しかし彼らもまた、ラジオ草創期から存在するものではなかった。そこで、コミュユニケーションの結節点となる「声」に焦点をあて、「声」に求められたものは何であったのかを検討する。テレビの普及により、ラジオはマス・パーソナル・メディアへの模索を始め、規格化された放送者の「声」は解体し、「声」には、パーソナルなコミュニケーションが要請されるようになった。そして、ラジオの「声」は男性化した。This paper aims to confirming that forms of media, communication, and their mediator "voice" are not constructed as a result of technological development, but are historical products of the interaction of society and technology. I will trace the change of "voice"-the forms of media, communication, mediatorship, and its gender in radio broadcasting. Radio has come to be situated as a local medium aiming at mass personal communication, and broadcasters are called "radio personarities". People listen to the "voice" on the radio, but what do they expect ? In the early sound media both radio and telephone played different roles to these of the widespread media they have become. They were systemic forms which could not be clealy distinguished and have been constructed to the specific media of today by society taking advantage of change. It is significant that it was a female "voice" which was considered suitable for communication on the early sound media. There was a sift from communication to the standardization of "voice". I will also trace the change of "voice" on the radio as mass media, throutout the history of broadcasting. In an examination of the radio communication of today, it can be seen that "radio personarities" are very important, but they did not figure at all in early radio. Tracing radio historiy, I will focus on "voice" has a medium of communication and examine what kind of "voice" people demand. With the spread of TV, radio has had to make the sift back from standardaized "voice" to communicative ability, in order to compete in the mass parsonal communication stakes. Toward the age of broadband, mass communication will be directed even more to mass personal communication, so I think it is even more important now to re-examine radio communication as mass parsonal communication
チイキ オ ツナグ コエ オンキョウ メディア ニオケル コエ ト ジェンダー ノ ヘンセン
No full text本稿の目的は、ラジオ放送における「声」とそのジェンダーの変遷を、メディア史、および、ラジオ史をたどることによって明らかにすることである。まず、草創期の音響メディアの歴史を概観し、電話やラジオを、現在のような特定の形態のメディアとして存立させていったのは社会であったことを確認する。マスでもパーソナルでもないコミュニケーションの結節点の「声」として女性が活用されたが、産業合理化の過程で「声」の規格化などが理由となり、メディアは、現在の姿へと変容した。次に、メディアは社会に生成されるという視座にたち、それぞれのメディアが今日の形態へと編成され、ラジオが、マス・.メディアとして成立してからのコミュニケーションの変容と、その「声」とジェンダーの変遷を、放送史に沿ってたどることにしたい。ラジオのコミュニケーションを考察する際、欠かすことができないのはラジオパーソナリティである。しかし彼らもまた、ラジオ草創期から存在するものではなかった。そこで、コミュユニケーションの結節点となる「声」に焦点をあて、「声」に求められたものは何であったのかを検討する。テレビの普及により、ラジオはマス・パーソナル・メディアへの模索を始め、規格化された放送者の「声」は解体し、「声」には、パーソナルなコミュニケーションが要請されるようになった。そして、ラジオの「声」は男性化した。This paper aims to confirming that forms of media, communication, and their mediator "voice" are not constructed as a result of technological development, but are historical products of the interaction of society and technology. I will trace the change of "voice"-the forms of media, communication, mediatorship, and its gender in radio broadcasting. Radio has come to be situated as a local medium aiming at mass personal communication, and broadcasters are called "radio personarities". People listen to the "voice" on the radio, but what do they expect ? In the early sound media both radio and telephone played different roles to these of the widespread media they have become. They were systemic forms which could not be clealy distinguished and have been constructed to the specific media of today by society taking advantage of change. It is significant that it was a female "voice" which was considered suitable for communication on the early sound media. There was a sift from communication to the standardization of "voice". I will also trace the change of "voice" on the radio as mass media, throutout the history of broadcasting. In an examination of the radio communication of today, it can be seen that "radio personarities" are very important, but they did not figure at all in early radio. Tracing radio historiy, I will focus on "voice" has a medium of communication and examine what kind of "voice" people demand. With the spread of TV, radio has had to make the sift back from standardaized "voice" to communicative ability, in order to compete in the mass parsonal communication stakes. Toward the age of broadband, mass communication will be directed even more to mass personal communication, so I think it is even more important now to re-examine radio communication as mass parsonal communication
コミュニティ トシテノ ラジオ スタジオ キョウト ホウソウ ハヤカワ イッコウ ノ バンザイ ニンゲン オ ジレイ トシテ
No full text本稿では、京都放送の『早川一光のばんざい人間』を事例としてとりあげ、ローカルラジオにおける、対話の広場"になりうる可能性を検討する。この事例研究は、筆者の、番組スタート時からの出演者としての経験知を参考にしたものである。地域の臨床医・早川一光をパーソナリティとする『早川一光のばんざい人間』が特異なのは、毎週約四十人の聴取者がスタジオでの生放送に参加し、そこでは、コミュニティが形成されている点である。番組は、最初から参加型番組として企図されたのではなく、講演での早川の活発な語りをシンボライズさせようとした演出策が、意図せざる結果として、現在の姿へ導くこととなった。早川は医療においても、ラジオにおいても「住民参加」を主張し、聴取者参加型番組は彼の考え方を反映したものとなっている。80才を迎え、早川は白衣を脱いだ。彼の「八十才の医療」とは、「患者の声に耳をすまし、そして対話すること」である。今、彼の医療と彼のラジオは、これまで以上にひびきあう。『早川一光のばんざい人間』はいくつかの問題点を抱えているが、それでもなお「住民参加」にこだわる老医師・早川に掘り起こされたのは、ラジオにおける"対話の広場"となりうる可能性なのではないだろうか。This paper is intended as an investigation of the possibility of local radio having a function as "a forum" for a dialogue, and is a case study of "Hayakawa Ikko no Banzai Ningen" at KBS radio from my field work as another radio personality of this program, since this liveshow started. This program is an interesting case where about 40 listeners come to the radio studio and take part in the live program on air every saturday morning. A community has been formed in the radio studio. The radio personality Hayakawa Ikko will soon be 80 years old, he is a medical doctor and well-known as a doctor who goes to see his patients in his local area. At first this program was made in the normal style . Directive to feature Hayakawa's activity as a lecturer on the live stage brougt about the change to what it is now. It produced an effect the other to program's staff's intentions . Hayakawa has insisted on civil participation of both medical care and radio, and the listeners' partcipating in the program is an accurate reflection of his way of thinking. The old doctor has decided not to wear his white's coat any more. And he said being a doctor for 80years is listening to patients and to discuss . Now his way of medical care and his thinking about radio will have a more profound impact than before . Not only Hayakawa has changed but listeners and "a forum" that they take part in. I point out 4 difficulties of "Hayakawa Ikko no Banzai Ningen", nevertheless we can see the possibility for a dialogue in "a forum" there
Crop Response to Waterlogging
No full textThis eBook is a collection of articles from a Frontiers Research Topic. Frontiers Research Topics are very popular trademarks of the Frontiers Journals Series: they are collections of at least ten articles, all centered on a particular subject. With their unique mix of varied contributions from Original Research to Review Articles, Frontiers Research Topics unify the most influential researchers, the latest key findings and historical advances in a hot research area! Find out more on how to host your own Frontiers Research Topic or contribute to one as an author by contacting the Frontiers Editorial Office: frontiersin.org/about/contac
Further Study on the Transitional Types of Tsuzumi Body
No full textLarge tsuzumi bodies coated with black urushi appear in paintings of the Insei era to the Kamakura period. In fact, tsuzumi bodies simply coated with black urushi have been transmitted at Isonokami Shrine in Nara prefecture, Kandani Shrine in Kagawa prefecture and Araki Shrine in Gifu prefecture. The design of these tsuzumi bodies is similar as are their size. The author considers these tsuzumi bodies as those that appear in a period of transition from the colorful gagaku tsuzumi that come in different sizes to the nohgaku tsuzumi coated with black urushi and decorated with makie. This theory has been presented previously, but several more similar tsuzumi bodies have been found. The more examples there are, the more certain that such tsuzumi bodies of the period of transition were used widely.
One example is found at Henmyo-in Temple in Okayama prefecture. There is a carved inscription on the surface of the tsuzumi body that shows that the tsuzumi was donated in 1296. It has already been reported that since Araki Shrine was in the domain of Ono, a gagaku musician, in the Kamakura period, it is quite possible that the tsuzumi body found there was used during that period. Thus, the appearance of the tsuzumi body at Henmyo-in Temple further confirms the theory that this type of tsuzumi body was used during the Kamakura period. Tsuzumi bodies of similar shape also exist at Ibiraki Shrine in Shiga prefecture and in a private collection in Tokyo.
Lines are incised on the bowl-shaped parts of the tsuzumi body of the period of transition. A nohgaku player in Kyoto and Nunakuma Shrine in Hiroshima prefecture respectively own tsuzumi bodies decorated with incised lines and makie. Since a report has already been made about the tsuzumi body at Nunakuma Shrine, a comment will be made here about the one in the private collection. Although tsuzumi body of the period of transition is slightly larger than that of today’s larger nohgaku tsuzumi, this one is a bit smaller. Unlike tsuzumi body of the period of transition that was hand carved, the inner side of its bowl-shaped part was formed on a turning wheel. Moreover, although the mouth of the bowl-shaped part of the tsuzumi body of the period of transition is widely open, that of this tsuzumi body is a little closed. In addition, not only the shape of the bowl-shaped part but also that of the node in the middle of the waist is quite similar to that of today’s larger nohgaku tsuzumi. The author heard the sound of this tsuzumi on stage, and it was also very similar to that of today’s tsuzumi. According to TAGUCHI Yoshiaki, an urushi artist, the decoration on this tsuzumi body is in hiramakie and is thought to have been applied in the Momoyama period. However, since makie powder has been found in the incised lines, it is certain that this tsuzumi body was made before the Momoyama period.
“Rai-un Makie Kodo” (tsuzumi body with a design of lightning and clouds) in the collection of Miho Museum is an example from the early Muromachi period. There are no inscribed lines, but the bowl-shaped part is open. In other words, the shape of the bowl-shaped part is that of the tsuzumi body of the period of transition. This means that in the Muromachi period there were two kinds of tsuzumi: bodies those with inscribed lines, even though other features are the same as those found on today’s tsuzumi body, and those with no incised lines but with open bowlshaped part.
The path from tsuzumi body of the period of transition to that of the larger nohgaku tsuzumi appears to be more complex than one would imagine.departmental bulletin pape
ORIGINAL ARTICLE Corresponding Author Qualitative and Quantitative Examination of Household Hazardous Waste in Tehran
No full textABSTRACT Tehran Metropolitan is one of the most crowded cities in the world. A large volume of various kind of solid waste are daily produced in the city which can cause lots of adverse environmental impacts. In the meanwhile, household hazardous waste has more importance than the others whereas it contains enormous toxic materials. Such toxins, by entering food chains and accumulating in humans can lead to a variety of gene mutations, cancer and congenital anomalies. Thus separation and optimal management of these materials is extremely important. The first step for management of this class of materials is identification of compounds and determination of quantities of the components. The current study focuses on determining the hazardous rate of the household wastes in Tehran. Accordingly, the Strict 2 of Tehran Metropolitan was selected as case study. Random sampling and questionnaire were applied to conduct the research. The obtained results indicated that around 10% of entire household wastes were hazardous within 2010-2011. Besides, the findings revealed that the amount of the hazardous material in winter is more than it in summer. The findings derived from the questionnaire suggested that 30% of residents have enough knowledge of household hazardous wastes, most of which possess a bachelor's degree or higher. In the meanwhile, only less than 10% separate the hazardous materials
A Study on the Origins of Manchurian “Paddy Rice Cultivation”:Focusing on How Japanese Engineers in Korea and Manchuria Perceive“Dry Rice” Differently
No full textIn this study, the author focuses on the difference in Japanese engineers’ perspectives on dry rice in Korea and Manchuria and reevaluates the theory in regards to the beginning of rice cultivation in Manchuria in 1875. Dry rice (kantō/geondo 乾稻) is one of the varieties of various species, such as the native species of rice found in Korea, including Yongcheon-se 龍川租, Daegu-s 大邱租, and Gyeyong-se 京租. Due to dry rice’s resistance towards droughts, it was possible to use a special cultivation method which involved sowing in a dry field and then moving to a wet field while waiting for the rain in the rainy season. Therefore, the dry rice was recognized as the wet field rice among the Japanese engineers in Manchuria. On the other hand, however, Japanese engineers in the northwestern part of Korea thought of it to be separate from the wet field rice and the land rice. In past research on rice cultivation in Manchuria, most researchers agreed that the cultivation of wet field rice was successful around 1875, along with the spread of wet field rice cultivation in various parts of South Manchuiria. The author presents an alternative view and argues that wet field rice cultivation spread to Manchuria via Korean immigrants during 1875. This led to Korean immigrants settling, arranging irrigation facilities, cultivating the dry rice, and “stabilizing” their cultivation skills by the end of the 19th century. In this paper, we focus on the rice cultivation research between Manchuria and Korea before the second world war, and point out that dry rice was historically cultivated in northwestern Korea and South Manchuria, while introducing the differences in knowledge between the two regions. In this paper, the characteristics of dry rice implemented the situation before wet field rice was imported, such as with Japanese species, and we clarify that the feature was one of the important nodes that shifted from native rice cultivation to modern rice cultivation.journal articl
Evaluating the immunoproteasome as a potential therapeutic target in cisplatin-resistant small cell and non-small cell lung cancer
No full textPurpose We evaluated the expression of proteasome subunits to assess whether the proteasome could be a therapeutic target in cisplatin-resistant lung cancer cells. Methods Cisplatin-resistant (CR) variants were established from three non-small cell lung cancer (NSCLC) cell lines (A549, H1299, and H1975) and two small cell lung cancer (SCLC) cell lines (SBC3 and SBC5). The expression of proteasome subunits, the sensitivity to immunoproteasome inhibitors, and 20S proteasomal proteolytic activity were examined in the CR variants of the lung cancer cell lines. Results All five CR cell lines highly expressed one or both of the immunoproteasome subunit genes, PSMB8 and PSMB9, while no clear trend was observed in the expression of constitutive proteasome subunits. The CR cells expressed significantly higher levels of PSMB8 and PSMB9 proteins, as well. The CR variants of the H1299 and SBC3 cell lines were more sensitive to immunoproteasome inhibitors, and had significantly more proteasomal proteolytic activity than their parental counterparts. Conclusions The immunoproteasome may be an effective therapeutic target in a subset of CR lung cancers. Proteasomal proteolytic activity may be a predictive marker for the efficacy of immunoproteasome inhibitors in cisplatin-resistant SCLC and NSCLC
