\u6587\u5b66\u7814\u7a76\u79d1\u7d00\u8981\u306fWeb\u306e\u307f\u306b\u3088\u308b\u516c\u958b\u3068\u306a\u308a\u307e\u3059\u3002\u518a\u5b50\u4f53\u3067\u306e\u767a\u884c\u306f\u3054\u3056\u3044\u307e\u305b\u3093\u3002<\/p>\n
[\u54f2\u5b66<\/a>] [\u6771\u6d0b\u54f2\u5b66<\/a>] [\u5fc3\u7406\u5b66<\/a>] [\u793e\u4f1a\u5b66<\/a>] [\u6559\u80b2\u5b66<\/a>] [\u65e5\u672c\u8a9e\u65e5\u672c\u6587\u5b66<\/a>] [\u82f1\u6587\u5b66<\/a>] [\u30d5\u30e9\u30f3\u30b9\u8a9e\u30d5\u30e9\u30f3\u30b9\u6587\u5b66<\/a>][\u30c9\u30a4\u30c4\u8a9e\u30c9\u30a4\u30c4\u6587\u5b66<\/a>] [\u30ed\u30b7\u30a2\u8a9e\u30ed\u30b7\u30a2\u6587\u5316<\/a>] [\u4e2d\u56fd\u8a9e\u4e2d\u56fd\u6587\u5b66<\/a>] [\u6f14\u5287\u6620\u50cf\u5b66<\/a>] [\u7f8e\u8853\u53f2\u5b66<\/a>] [\u65e5\u672c\u53f2\u5b66<\/a>][\u6771\u6d0b\u53f2\u5b66<\/a>] [\u897f\u6d0b\u53f2\u5b66<\/a>] [\u8003\u53e4\u5b66<\/a>] [\u6587\u5316\u4eba\u985e\u5b66<\/a>] [<\/a>\u8868\u8c61\u30fb\u30e1\u30c7\u30a3\u30a2\u8ad6]<\/a>\u00a0[\u73fe\u4ee3\u6587\u82b8]\u00a0<\/a>[\u4e2d\u6771\u30fb\u30a4\u30b9\u30e9\u30fc\u30e0\u7814\u7a76]<\/a>\u00a0[\u56fd\u969b\u65e5\u672c\u5b66]<\/a><\/p>\n \u25a0 \u5c0f\u6797 \u4fe1\u4e4b\u3000Nobuyuki KOBAYASHI<\/p>\n \u30ab\u30f3\u30c8\u306b\u304a\u3051\u308b\u76ee\u7684\u306a\u304d\u5408\u76ee\u7684\u6027\u306b\u3064\u3044\u3066<\/a><\/p>\n Zur Zweckm\u00e4\u00dfigkeit ohne Zweck bei Kant<\/p>\n \u25a0 \u897f\u5c71 \u9054\u4e5f\u3000Tatsuya NISHIYAMA<\/p>\n Erz\u00e4hl mir keine Geschichten ! \u2500\u2500\u30b8\u30e3\u30c3\u30af\u30fb\u30c7\u30ea\u30c0\u306b\u3088\u308b\u300e\u5b58\u5728\u3068\u6642\u9593\u300f\u8aad\u89e3\u2500\u2500<\/a><\/p>\n Erz\u00e4hl mir keine Geschichten ! : Derrida lectueur de Sein und Zeit<\/em><\/p>\n \u25a0 Ayumu SHIGETA<\/p>\n New Method for the Analytic Interpretation of Kant: Comparing Three Forms of Neo-Meinongian Readings<\/a><\/p>\n \u25a0 \u9053\u4e0b \u62d3\u54c9<\/p>\n \u30ab\u30f3\u30c8\u5b9f\u8df5\u54f2\u5b66\u3068\u300c\u53cd\u7701\u300d\u306e\u554f\u984c<\/a><\/p>\n Kant\u2019s Practical Philosophy and the Problem of \u201cReflection\u201d<\/p>\n \u25a1\u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6e21\u9089 \u7fa9\u6d69\u3000Yoshihiro WATANABE<\/p>\n \u674e\u5ef6\u58fd\u300c\u5357\u5317\u53f2\u300d\u306e\u5927\u4e00\u7d71<\/a><\/p>\n Viewing the Great Unification from Li Yanshou \u674e\u5ef6\u5bff\u2019s \u201cNan Bei Shi \u5357\u5317\u53f2\u201d<\/p>\n \u25a0 \u6afb\u672c \u9999\u7e54\u3000Kaori SAKURAMOTO<\/p>\n \u300e\u5357\u65b9\u9332\u300f\u300c\u899a\u66f8\u300d\u5192\u982d\u90e8\u306e\u4ecf\u6559\u601d\u60f3 \u2500\u2500\u85aa\u6c34\u306e\u4fee\u884c\u8b5a\u3092\u4e2d\u5fc3\u306b\u2500\u2500<\/a><\/p>\n Buddhist Theory of the Beginning Part of \u201cOboegaki\u201d Nanp\u014droku<\/em>: Mainly on the Practice of Being Hewers of Wood and Drawers of Water<\/p>\n \u25a0 \u7530\u4e2d \u4e9c\u7f8e \u3000Ami TANAKA<\/p>\n \u72d0\u3068\u5805\u7262\u5730\u795e \u2500\u2500\u65e5\u672c\u306b\u304a\u3051\u308b\u3008\u72d0\u4eee\u864e\u5a01\u3009\u8aac\u8a71\u306e\u53d7\u5bb9\u3068\u300e\u6442\u5bff\u7d4c\u300f\u2500\u2500<\/a><\/p>\n Fox and Pr. thiv\u012b: The Acceptance of \u201ca fox borrows the power of a tiger\u201d in Japan and Shojuky\u014d<\/em><\/p>\n \u25a0 \u6b66\u672c \u5b97\u4e00\u90ce \u3000Soichiro TAKEMOTO<\/p>\n \u6700\u6f84\u6559\u5b66\u306b\u304a\u3051\u308b\u5efb\u5fc3\u5411\u5927<\/a><\/p>\n Saich\u014d\u2019s Theory of Turning from H\u012bnay\u0101na to Mah\u0101y\u0101na<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6c40 \u9038\u9db4 \u3000Ifu MIGIWA<\/p>\n \u77e5\u7684\u597d\u5947\u5fc3\u304c\u6587\u7ae0\u60c5\u5831\u306e\u3082\u3063\u3068\u3082\u3089\u3057\u3055\u306e \u8a55\u4fa1\u306b\u4e0e\u3048\u308b\u5f71\u97ff<\/a><\/p>\n Effect of Epistemic Curiosity on Plausibility of Text Information<\/p>\n \u25a0 \u5409\u91ce \u4f38\u54c9 \u3000Shinya YOSHINO<\/p>\n \u65e5\u672c\u306b\u304a\u3051\u308b\u8ee2\u5c45\u9858\u671b\u3068Big Five \u30d1\u30fc\u30bd\u30ca\u30ea\u30c6\u30a3\u306e\u95a2\u9023<\/a><\/p>\n Relationships between hope to move and the Big Five personality traits in Japan<\/p>\n \u25a0 \u77f3\u7530 \u5149\u898f\u3000Mitsunori ISHIDA<\/p>\n \u5b50\u80b2\u3066\u671f\u306b\u3042\u308b\u6bcd\u89aa\u306e\u5c45\u5834\u6240\u3068\u3057\u3066\u306eNPO \u306e\u53ef\u80fd\u6027<\/a><\/p>\n The Role of Non-profit Organizations for Child-rearing Mothers<\/p>\n \u25a0 \u6c60\u7530 \u7965\u82f1\u3000Yoshifusa IKEDA<\/p>\n \u30ea\u30b7\u30e3\u30fc\u30eb\u306e\u30c7\u30e5\u30eb\u30b1\u30fc\u30e0\u6279\u5224\uff081894-1905\uff09 \u2500\u2500\u300c\u7121\u610f\u8b58\u7684\u793e\u4f1a\u6027\u300d\u3092\u3081\u3050\u3063\u3066\u2500\u2500<\/a><\/p>\n Richard critique de Durkheim (1894-1905)\u2014 \u00e0 propos de la \u00ab socialit\u00e9 automatique \u00bb \u2014<\/p>\n \u25a1\u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6c96 \u6e05\u8c6a\u3000Kiyotake OKI<\/p>\n \u4e2d\u6559\u5be9\u9ad8\u5927\u63a5\u7d9a\u7279\u5225\u90e8\u4f1a\u306b\u304a\u3051\u308b\u5165\u5b66\u8005\u9078\u629c\u5236\u5ea6\u6539\u9769\u8b70\u8ad6\u306e\u300c\u63fa\u3089\u304e\u300d \u2500\u2500\u5165\u8a66\u306e\u516c\u6b63\u6027\u3068\u5171\u901a\u30c6\u30b9\u30c8\u5c0e\u5165\u3092\u3081\u3050\u308b\u8b70\u8ad6\u306b\u57fa\u3065\u3044\u3066\u2500\u2500<\/a><\/p>\n The \u201cWaver\u201d in Discussions on Reform of the Enrollment System at the Special Subcommittee on the Articulation between Secondary and Higher Education in the Central Council for Education: Based on Debate over the Equity of University Entrance Examination and the Introduction of New Entrance Tests<\/p>\n \u25a0\u00a0\u7530 \u7a3c\u4e4b\u3000Jiazhi TIAN<\/p>\n \u5b66\u751f\u306e\u9032\u5b66\u52d5\u6a5f\u304b\u3089\u307f\u305f\u4e2d\u56fd\u5730\u65b9\u91cd\u70b9\u5927\u5b66\uff13\u6a5f\u95a2\u306b\u304a\u3051\u308b \u6559\u80b2\u6a5f\u4f1a\u9078\u629e\u306e\u968e\u5c64\u9593\u683c\u5dee<\/a><\/p>\n Hierarchical Educational Opportunities\u2019 Selection of Chinese Regional Priority University\u2019s Three Institutions from the Viewpoint of Students\u2019 Admission Motivation<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6c60\u6fa4 \u4e00\u90ce\u3000Ichiro IKEZAWA<\/p>\n \u5e55\u672b\u7dad\u65b0\u671f\u306e\u4f1a\u6d25\u85e9\u58eb\u306e\u771f\u60c5 \u2500\u2500\u97cb\u8ed2\u30fb\u5f18\u6bc5\u658e\u30fb\u7fbd\u5cf0\u306e\u6f22\u8a69\u5531\u548c\u2500\u2500<\/a><\/p>\n Some real feelings of warriors in Aizu-Han between at the end of the Edo period and at the time of Meiji Restoration \u2014 Some Chinese Poems in chorus written by Akizuki Kazuhisa, Nanma Tunanori and Okudaira Kensuke \u2014<\/p>\n \u25a0 \u9663\u91ce \u82f1\u5247\u3000Hidenori JINNO<\/p>\n \u300e\u5824\u4e2d\u7d0d\u8a00\u7269\u8a9e\u300f\u300c\u601d\u306f\u306c\u65b9\u306b\u3068\u307e\u308a\u3059\u308b\u5c11\u5c06\u300d\u8ad6 \u2500\u2500\u591a\u69d8\u306a\u5973\u623f\u305f\u3061\u306e\u6a19\u672c\u2500\u2500<\/a><\/p>\n Taking a Closer Look at \u201cThe Lieutenants Who Lodged in Unexpected Quarters\u201d from Tsutsumi Ch\u016bnagon monogatari<\/em>: On the Various Ladies-in-Waiting as (Anti-)Role Models<\/p>\n \u25a0 \u77f3\u4e38 \u7d14\u4e00 \u3000Juinichi ISHIMARU<\/p>\n \u6625\u666f\u306e\u677e\u2500\u2500\u300e\u61d0\u98a8\u85fb\u300f\u677e\u306e\u8868\u73fe\u3092\u3081\u3050\u3063\u3066\u2500\u2500<\/a><\/p>\n Pine tree in spring scenery: Poetic expression of pine in ancient Japanese literature<\/p>\n \u25a0 \u6797 \u5b87\u3000Yu LIN<\/p>\n \u4e0a\u4ee3\u6587\u5b66\u306b\u304a\u3051\u308b\u300c\u9732\u300d\u306e\u5909\u9077\u2500\u2500\u4e07\u8449\u96c6\u3092\u4e2d\u5fc3\u306b\u2500\u2500<\/a><\/p>\n Transition of \u201cTsuyu\u201d in J\u014ddai literature \u2015 Mainly on Manyoushu \u2015<\/p>\n \u25a0 \u7a74\u4e95 \u6f64\u3000Jun ANAI<\/p>\n \u5225\u672c\u300e\u5fe0\u76db\u96c6\u300f\u3068\u5e73\u7d4c\u76db \u2500\u2500\u5bb6\u96c6\u5f62\u614b\u306e\u6642\u4ee3\u6027\u3068\u5fe0\u76db\u656c\u4ef0\u306e\u610f\u8b58\u2500\u2500<\/a><\/p>\n Another manuscript Tadamori shu<\/em> (Taira Tadamori\u2019s poetry book) and Taira Tunemori\uff1a The epochal consequence of form of poetry book and The consciousness that respect to Tadamori<\/p>\n \u25a0 \u7532\u6590 \u6e29\u5b50\u3000Atsuko KAI<\/p>\n \u4e2d\u5fa1\u9580\u5ba3\u80e4\u306e\u300e\u4e07\u8449\u96c6\u300f\u7814\u7a76 \u2500\u2500\u300e\u4e07\u8449\u985e\u8449\u6284\u300f\u306b\u304a\u3051\u308b\u4ed8\u8a13\u306e\u69d8\u76f8\u2500\u2500<\/a><\/p>\n Nakamikado nobutane\u2019s Study of Manyoshu<\/em>: Focusing on the Way of Reading \u2018Waka\u2019 Poetry in Manyo-ruiyousyou<\/em><\/p>\n \u25a0\u674e \u6176\u65fc\u3000Gyeongmin LEE<\/p>\n \u660e\u6cbb\u671f\u5c0f\u8aac\u306b\u304a\u3051\u308b\u30a2\u30b9\u30da\u30af\u30c8\u5f62\u5f0f \u2500\u2500\u300c\u5358\u306a\u308b\u72b6\u614b\u300d\u3092\u8868\u3059\u610f\u5473\u3092\u4e2d\u5fc3\u306b\u2500\u2500<\/a><\/p>\n On the Aspect Forms of the Literature in Meiji Period: Focusing on the Meaning of State<\/p>\n \u25a0\u68ee \u9686\u592b\u3000Takao MORI<\/p>\n \u5e83\u702c\u65ed\u8358\u3068\u983c\u5c71\u967d\u306b\u304a\u3051\u308b\u8a60\u53f2\u8a69 \u2500\u2500\u4e21\u8005\u306b\u3088\u308b\u4e09\u56fd\u8a60\u53f2\u8a69\u3092\u8aad\u3080\u2500\u2500<\/a><\/p>\n Historical poems of Hirose Kyokuso and Rai Sanyou<\/p>\n \u25a0 \u5c71\u672c \u6709\u9999 \u3000Yuka YAMAMOTO<\/p>\n \u5185\u7530\u767e\u9592\u306e\u65e5\u672c\u90f5\u8239\u6642\u4ee3\u2500\u2500\u53f0\u6e7e\u65c5\u884c\u3092\u4e2d\u5fc3\u3068\u3057\u3066\u2500\u2500<\/a><\/p>\n Uchida Hyakken in Nippon Yusen Kaisha (NYK Line): Focusing on His Travel to Taiwan Under The Rule of Japanese Empire<\/p>\n \u25a0 \u59da \u7476 \u3000Yao YAO<\/p>\n \u300c\u3042\u300d\u7cfb\u611f\u52d5\u8a5e\u306b\u304a\u3051\u308b\u8a9e\u306e\u8a8d\u5b9a\u306b\u3064\u3044\u3066<\/a><\/p>\n On Word Recognition of the \u201ca\u201d Type Interjections in Japanese<\/p>\n \u25a0 \u698e\u6238 \u6e09\u543e\u3000Shogo ENOKIDO<\/p>\n \u300e\u842c\u8449\u96c6\u300f\u67ff\u672c\u4eba\u9ebb\u5442\u300c\u81f3\u4e8c\u5b87\u6cbb\u6cb3\u8fba\u4e00\u4f5c\u6b4c\u300d\u8003<\/a><\/p>\n A study of \u201cA verse composed Kakinomoto no Hitomaro as he arrived Uji Riverfront\u201d in The Man\u2019y\u014dsh\u016b<\/em><\/p>\n \u25a0 \u5927\u6728 \u30a8\u30ea\u30ab\u3000Erika OHKI<\/p>\n \u8c37\u5d0e\u6f64\u4e00\u90ce\u300c\u8606\u5208\u300d\u306b\u304a\u3051\u308b\u5e7b\u71c8\uff08\u30de\u30b8\u30c3\u30af\u30fb\u30e9\u30f3\u30bf\u30f3\uff09\u7684\u30a4\u30e1\u30fc\u30b8\u306e\u7814\u7a76 \u2500\u2500\u3008\u7570\u754c\u3009\u3078\u5411\u304b\u3046\u8996\u7dda\u2500\u2500<\/a><\/p>\n The Image of Magic Lantern in Tanizaki Jun\u2019ichir\u014d\u2019s Ashikari<\/em><\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u5ca1\u7530 \u4fca\u4e4b\u8f14 \u3000Shunnosuke OKADA<\/p>\n \u30ab\u30fc\u30e9\u30a4\u30eb\u306e\u30de\u30db\u30e1\u30c3\u30c8\u8ad6\u3092\u8b80\u3080\u30b5\u30a4\u30fc\u30c9 \u2500\u2500\u300e\u30aa\u30ea\u30a8\u30f3\u30bf\u30ea\u30ba\u30e0\u300f\u3078\u306e\u8a3b\u91cb\u3092\u517c\u306d\u3066\u2500\u2500<\/a><\/p>\n Thomas Carlyle on Mahomet, Read by Edward Said: Annotating Relevant Paragraphs of Orientalism<\/em>, Ch. 2, \u00a7III<\/p>\n \u25a0 \u7686\u672c \u667a\u7f8e\u3000Tomomi MINAMOTO<\/p>\n \u30b7\u30e3\u30fc\u30ed\u30c3\u30c8\u30fb\u30d6\u30ed\u30f3\u30c6\u306e\u300e\u30b8\u30a7\u30a4\u30f3\u30fb\u30a8\u30a2\u300f\u306b\u304a\u3051\u308b \u300c\u5fc3\u306e\u76ee\u300d\u3068\u611f\u60c5<\/a><\/p>\n The \u2018Spiritual Eye\u2019 and Emotion in Charlotte Bront\u00eb\u2019s Jane Eyre<\/p>\n \u25a0 \u7be0\u539f \u5065\u5409 \u3000Kenkichi SHINOHARA<\/p>\n \u30ad\u30e3\u30ea\u30d0\u30f3\u306e\u5922<\/a><\/p>\n Caliban\u2019s Dream<\/p>\n \u25a0 \u4e95\u4e0a \u83dc\u3005\u5b50\u3000Nanako INOUE<\/p>\n Kurt Vonnegut \u306eSlaughterhouse-Five<\/em> \u306b\u304a\u3051\u308b \u8987\u6a29\u7684\u7537\u6027\u6027\u8a00\u8aac\u3078\u306e\u6279\u5224\u306b\u3064\u3044\u3066<\/a><\/p>\n Kurt Vonnegut\u2019s Criticism against the Discourse of Hegemonic Masculinity in Slaughterhouse-Five<\/em><\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u702c\u6238 \u76f4\u5f66\u3000Naohiko SETO<\/p>\n \u30c0\u30a6\u30c7\u30fb\u30c7\u30fb\u30d7\u30e9\u30c0\u30b9\u306e\u300c\u6559\u8a13\u8a69\u300d\uff08PC 124, 2\uff09\u306b\u3064\u3044\u3066 \u2500\u2500 tozeta \u3068\u3044\u3046\u5358\u8a9e\u306e\u610f\u5473\u2500\u2500<\/a><\/p>\n Dompna, piucella et soudadieira<\/em> \u2014 sur une pi\u00e8ce didactique de Daude de Pradas (PC 124, 2)<\/p>\n \u25a0 Odile DUSSUD<\/p>\n \u00ab Non sapio mendacia \u00bb<\/em> \u2500\u2500 aspects litt\u00e9raires de la critique de Nicolas Gueudeville contre le T\u00e9l\u00e9maque<\/em> de F\u00e9nelon \u2500\u2500<\/a><\/p>\n \u25a0 \u4f50\u3005\u6728 \u5320\u3000Takumi SASAKI<\/p>\n \u30a2\u30eb\u30d9\u30fc\u30eb\u30fb\u30ab\u30df\u30e5\u4f5c\u54c1\u306b\u304a\u3051\u308b\u8996\u7dda<\/a><\/p>\n Sur le regard dans l\u2019oeuvre d\u2019Albert Camus<\/p>\n \u25a0 \u65e9\u5ddd \u5353\u4e9c \u00a0 Takua HAYAKAWA<\/p>\n \u30a8\u30c9\u30a5\u30a2\u30fc\u30eb\u30fb\u30b0\u30ea\u30c3\u30b5\u30f3\u521d\u671f\u4f5c\u54c1\u7814\u7a76 \u2500\u2500\u6700\u521d\u671f\u306e\u8a69\u98a8\u306e\u5909\u5316\u3092\u3081\u3050\u3063\u3066\uff081946-55\u5e74\uff09\u2500\u2500<\/a><\/p>\n Une \u00e9tude sur l\u2019\u00e9volution de la po\u00e9sie d\u2019\u00c9douard Glissant : autour de ses premiers po\u00e8mes de 1946 \u00e0 1955<\/p>\n \u25a0 \u99ac\u8d8a \u6d0b\u5e73 \u00a0 Yohei UMAKOSHI<\/p>\n \u300c\u8a69\u306e\u5bb4\u300d\u3068\u3057\u3066\u306e\u300e\u30a8\u30ed\u30c7\u30a3\u30a2\u30fc\u30c9\u306e\u5a5a\u793c\u300f \u2500\u2500\u300c\u30ab\u30cb\u30d0\u30ea\u30ba\u30e0\u300d\u306e\u8ee2\u63db\u2500\u2500<\/a><\/p>\n Les Noces d\u2019H\u00e9rodiade<\/em>, en tant que banquet de la po\u00e9sie \u2014 le changement du cannibalisme<\/p>\n \u25a0\u9577\u6fa4 \u6cd5\u5e78\u00a0 Noriyuki NAGASAWA<\/p>\n \u30dc\u30fc\u30c9\u30ec\u30fc\u30eb\u3001\u30b9\u30a6\u30a3\u30f3\u30d0\u30fc\u30f3\u3001\u30eb\u30cd\u30fb\u30f4\u30a3\u30f4\u30a3\u30a2\u30f3\u306e\u4f5c\u54c1\u306b \u304a\u3051\u308b\u30ec\u30b9\u30dc\u30b9\u5cf6\u306e\u8868\u8c61<\/a><\/p>\n Tryptique lesbien: Essai sur les repr\u00e9sentations de l\u2019\u00eele de Lesbos chez Baudelaire, Swinburne et Ren\u00e9e Vivien<\/p>\n \u25a0\u00a0\u5c71\u672c \u4f73\u751f \u00a0 Yoshio YAMAMOTO<\/p>\n \u300c\u8c4a\u9952\u3055\u300d\u306b\u3064\u3044\u3066\u306e\u4e00\u8003\u5bdf \u2500\u2500\u300e\u30a8\u30bb\u30fc\u300f\u306b\u304a\u3051\u308b\u30a4\u30e1\u30fc\u30b8\u306e\u4f7f\u7528\u2500\u2500<\/a><\/p>\n Les images de la \u201ccopia\u201d dans les Essais de Montaigne<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6238\u5d8b \u5320\u3000Takumi TOSHIMA<\/p>\n \u6226\u9593\u671f\u6587\u5b66\u3068\u8996\u899a\u30e1\u30c7\u30a3\u30a2\u2500\u2500\u30c8\u30fc\u30de\u30b9\u30fb\u30de\u30f3\u3001\u30db\u30fc\u30d5\u30de\u30f3\u30b9\u30bf\u30fc\u30eb\u3001 \u30d8\u30eb\u30de\u30f3\u30fb\u30d6\u30ed\u30c3\u30db\u2500\u2500<\/a><\/p>\n Literatur in der Zwischenkriegszeit und optische Medien \u2014 Thomas Mann, Hofmannsthal und Hermann Broch \u2014<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u4e09\u6d66 \u6e05\u7f8e\u3000Kiyoharu MIURA<\/p>\n \u5e9c\u4e3b\u6559\u30d5\u30a3\u30ea\u30c3\u30d7\u4f1d\uff08\u4e0b\uff09 \u5e9c\u4e3b\u6559\u30d5\u30a3\u30ea\u30c3\u30d7\u3078\u306e\u793c\u62dd\u306e\u8056\u6b4c<\/a><\/p>\n The Life of Metropolitan Philip (II) \u2014 Translation and Commentary. Liturgy Songs dedicated to Metropolitan Philip<\/p>\n \u25a0 \u7af9\u5185 \u30ca\u30bf\u30fc\u30b7\u30e3\u3000Natasha TAKEUCHI<\/p>\n F. \u30bd\u30ed\u30b0\u30fc\u30d7\u306e\u622f\u66f2\u306b\u304a\u3051\u308b\u300c\u738b\u56fd\u300d \u2500\u2500\u3044\u304b\u306b\u3008\u8a69\u4eba\u3009\u304c\u4e16\u754c\u3068\u95a2\u308f\u308b\u304b\u2500\u2500<\/a><\/p>\n \u00ab\u0426\u0430\u0440\u0441\u0442\u0432\u043e\u00bb \u0432 \u043f\u044c\u0435\u0441\u0430\u0445 \u0424. \u0421\u043e\u043b\u043e\u0433\u0443\u0431\u0430: \u043a\u0430\u043a \u00ab\u043f\u043e\u044d\u0442\u00bb \u043e\u0442\u043d\u043e\u0441\u0438\u0442\u0441\u044f \u043a \u043c\u0438\u0440\u0443<\/p>\n \u25a0 \u83c5\u539f \u5f69\u3000Aya SUGAHARA<\/p>\n \u30b5\u30ed\u30f3\u6587\u5316\u306b\u304a\u3051\u308b\u6587\u5b66\u53d7\u5bb9\uff1a \u30b3\u30ba\u30ed\u30d5\u300e\u4fee\u9053\u58eb\u300f\uff081825\uff09\u3092\u3081\u3050\u3063\u3066<\/a><\/p>\n \u0412\u043e\u0441\u043f\u0440\u0438\u044f\u0442\u0438\u0435 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u044b \u0432 \u0441\u0430\u043b\u043e\u043d\u043d\u043e\u0439 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0435\uff1a\u043e \u043f\u043e\u044d\u043c\u0435 \u0418. \u0418. \u041a\u043e\u0437\u043b\u043e\u0432\u0430 \u00ab\u0427\u0435\u0440\u043d\u0435\u0446\u00bb (1825)<\/p>\n \u25a0 \u5b89\u91ce \u76f4\u3000Sunao YASUNO<\/p>\n \u30ed\u30b7\u30a2\u306e\u5973\u6027\u5411\u3051\u5927\u8846\u5c0f\u8aac\u306b\u304a\u3051\u308b\u5973\u6027\u89e3\u653e\u2500\u2500\u30a2\u30ca\u30b9\u30bf\u30b7\u30e4\u30fb\u30f4\u30a7\u30eb\u30d3\u30c4\u30ab\u30e4 \u300e\u5e78\u798f\u306e\u9375\u300f\u3092\u3081\u3050\u3063\u3066\u2500\u2500<\/a><\/p>\n Emancipation of Women in the Popular Novels for Women in Russia:On Keys to Happiness<\/em> Written by Anastasya Verbitskaya<\/p>\n \u25a0 \u67ef \u660e\u3000Ming KE<\/p>\n \u539f\u91c7\u860b\u306e\u8a69\u306b\u304a\u3051\u308b\u300c\u821f\u300d\u3092\u3081\u3050\u3063\u3066<\/a><\/p>\n The \u201cBoat\u201d in Hara Saihin\u2019s Kanshi<\/p>\n \u25a0 \u5f35 \u5b87\u535a\u3000Yubo ZHANG<\/p>\n \u8fd1\u5e74\u306e\u9999\u6e2f\u6620\u753b\u306b\u304a\u3051\u308b\u300c\u75c5\u300d\u306e\u610f\u5473 \u2500\u2500\u300e\u4e00\u5ff5\u7121\u660e\u300f\u3001\u300e\u5e78\u904b\u662f\u6211\u300f\u3092\u4f8b\u3068\u3057\u3066\u2500\u2500<\/a><\/p>\n The Metaphor of \u201cIllness\u201d in Recent Hong Kong Cinema:with reference to \u201cMad World\u201d and \u201cHappiness\u201d<\/p>\n \u25a0 \u674e \u5bb6\u6a4b\u3000Jiaqiao LI<\/p>\n \u738b\u56fd\u7dad\u306b\u3088\u308b\u5143\u96d1\u5287\u300c\u676d\u5dde\u4e2d\u5fc3\u8aac\u300d\u306e\u518d\u8003<\/a><\/p>\n The re-examination of Yuan-Drama\u2019s \u201cHangzhou center theory\u201d by WangGuowei<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u5317\u539f \u307e\u308a\u5b50\u3000Mariko KITAHARA<\/p>\n \u30d5\u30a9\u30fc\u30ad\u30f3\u632f\u4ed8\u300a\u30b7\u30e7\u30d4\u30cb\u30a2\u30fc\u30ca\uff0f\u30ec\u30fb\u30b7\u30eb\u30d5\u30a3\u30fc\u30c9\u300b \u2500\u2500\u5909\u5bb9\u3059\u308b\u300c\u53e4\u5178\u300d\u4f5c\u54c1\u2500\u2500<\/a><\/p>\n Mikhail Fokine\u2019s Chopiniana\/Les Sylphides<\/em> (1907, 1909): Transformations of a classical work through 20th-century ballet\u2019s aesthetic changes<\/p>\n \u25a0 \u99d2\u4e95 \u653f\u8cb4\u3000Masaki KOMAI<\/p>\n \u30eb\u30a4\u30fb\u30c9\u30a5\u30ea\u30e5\u30c3\u30af\u6620\u753b\u306e\u7537\u6027\u6027\u2500\u2500\u300c\u6587\u660e\u4eba\u300d\u306e\u81ea\u753b\u50cf<\/a><\/p>\n La masculinit\u00e9 dans des films de Louis DELLUC\u2014\u2014 Un autoportrait de \u201cl\u2019homme civilis\u00e9\u201d<\/p>\n \u25a0 \u5150\u5d8b \u7531\u679d\u3000Yoshie KOJIMA<\/p>\n \u65e5\u672c\u306e\u30a4\u30a8\u30ba\u30b9\u4f1a\u753b\u6d3e\u3068\u6771\u30a2\u30b8\u30a2\uff1a\u30de\u30ab\u30aa\u306e\u300a\u8056\u4f53\u9855\u793a\u53f0\u3092\u6301\u3064\u5927\u5929\u4f7f\u30df\u30ab\u30a8\u30eb\u300b\u3068 \u30de\u30cb\u30e9\u306e\u300a\u30ed\u30b6\u30ea\u30aa\u306e\u8056\u6bcd\u300b<\/a><\/p>\n Jesuit \u201csemin\u00e1rio dos pintores\u201d in Japan and East Asia: St. Michael the Archangel Holding a Monstrance<\/em> in Macau and the Madonna of the Rosary<\/em> in Manila<\/p>\n \u25a0 Tomoyuki MASUDA<\/p>\n The Lectionary Cod. 1 in the Iviron Monastery on Mount Athos and its Encaenia<\/em><\/a><\/p>\n \u25a0 \u5c71\u672c \u8061\u7f8e\u3000Satomi YAMAMOTO<\/p>\n \u75ab\u75c5\u3068\u7f8e\u8853\u2500\u2500\u65e5\u672c\u4e2d\u4e16\u7d75\u753b\u306b\u63cf\u304b\u308c\u305f\u75ab\u9b3c\u2500\u2500<\/a><\/p>\n Epidemics in Art: The Representation of Disease in Medieval Japan<\/p>\n \u25a0 \u672c\u9593 \u7f8e\u7d00\u3000Miki HOMMA<\/p>\n \u30da\u30eb\u30b7\u30a2\u753b\u5bb6\u306e\u6a21\u5199\u3057\u305f \u300c\u4e8c\u7f85\u6f22\u56f3\u300d\uff08\u30e1\u30c8\u30ed\u30dd\u30ea\u30bf\u30f3\u7f8e\u8853\u9928 68.48\uff09\u306b\u3064\u3044\u3066<\/a><\/p>\n The Sources for \u201cTwo Lohans\u201d (The Metropolitan Museum of Art 68. 48) Copied by Persian Painters<\/p>\n \u25a0 \u7a32\u8449 \u79c0\u6717\u3000Hideaki INABA<\/p>\n \u5b89\u967d\u970a\u6cc9\u5bfa\u5854\u6797\u306b\u304a\u3051\u308b\u300c\u51ed\u51e0\u3092\u3068\u3082\u306a\u3046\u4ecf\u50e7\u50cf\u300d\u306e\u610f\u7fa9<\/a><\/p>\n The Significance of \u201cBuddhist Monk Statues with an Armrest\u201d of Tomb Towers in Lingquan Temple, Anyang<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u8c37\u53e3 \u771e\u5b50\u3000Shinko TANIGUCHI<\/p>\n \u4e00\u516b\u516b\u3007\u5e74\u306b\u304a\u3051\u308b\u897f\u5468\u306e\u56fd\u969b\u60c5\u52e2\u8a8d\u8b58 \u2500\u2500\u300c\u4e0a\u96a3\u90a6\u5175\u5099\u7565\u8868\u300d\u306e\u5206\u6790\u2500\u2500<\/a><\/p>\n Nishi Amane\u2019s recognition of international situation in 1880: An Analysis of \u201cJo-rimpoheibiryakuhyo<\/em>\u201d<\/p>\n \u25a0 \u677e\u8c37 \u6607\u8535\u3000Shozo MATSUTANI<\/p>\n \u5185\u95a3\u5236\u5ea6\u5c0e\u5165\u524d\u5f8c\u306b\u304a\u3051\u308b\u6587\u90e8\u5b98\u50da \u2500\u2500\u300c\u6559\u80b2\u300d\u7d4c\u6b74\u306e\u5b9f\u614b\u2500\u2500<\/a><\/p>\n Bureaucrats of the Ministry of Education before and after Introduction of the Cabinet System: Reality of \u201ceducational\u201d career<\/p>\n \u25a0 \u8881 \u7532\u5e78\u3000Jiaxing YUAN<\/p>\n \u5e9c\u770c\u306e\u5b9a\u7740\u3068\u300c\u56fd\u90e1\u5236\u300d<\/a><\/p>\n The Stabilization of Prefecture: the Role of the Kokugun <\/em> System<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u5c0f\u539f \u6df3\u3000Jun OBARA<\/p>\n \u6771\u5317\u5730\u65b9\u306b\u5b58\u3059\u308b\u30c9\u30a4\u30c4\u95a2\u9023\u53f2\u8de1\u306e\u7dcf\u5408\u7684\u691c\u8a0e<\/a><\/p>\n Comprehensive Research about German-related Historical Sites in Tohoku Region<\/p>\n \u25a0 \u751a\u91ce \u5c1a\u5fd7\u30fb\u85e4\u539f \u79c0\u4e4b\u3000Takashi JINNO, Hideyuki FUJIWARA<\/p>\n \u65e9\u7a32\u7530\u5927\u5b66\u6b74\u53f2\u9928\u300c\u6d77\u3092\u6e21\u3063\u305f\u30b5\u30e0\u30e9\u30a4\uff5e\u671d\u6cb3\u8cab\u4e00\u5c55\u300d\u306b\u3088\u305b\u3066 \u2500\u2500\u65b0\u767a\u898b\u8cc7\u6599\u306e\u7d39\u4ecb\u2500\u2500<\/a><\/p>\n The Contents Description of \u201cKan\u2019ichi Asakawa Exhibition\u201d (Waseda University History for Tomorrow Museum, 2020)<\/p>\n \u25a0 \u677e\u5712 \u4f38\u3000Shin MATSUZONO<\/p>\n \u300c\u30a4\u30ae\u30ea\u30b9\u8b70\u4f1a\u53f2\u300d\u53d9\u8ff0\u5f62\u614b\u306e\u5909\u9077\u306b\u3064\u3044\u3066\uff081\uff09<\/a><\/p>\n Change of Narrative Style of \u201cBritish Parliamentary History\u201d (1)<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0\u9ad8\u6a4b \u9f8d\u4e09\u90ce\u30fb\u5c71\u5d0e \u4e16\u7406\u611b\u30fb\u9688\u5143 \u9053\u539a\u30fb\u6bd4\u7559\u9593 \u7d62\u9999\u30fb\u5ca1\u672c \u6a39\u30fb\u9234\u6728 \u5b8f\u548c\u30fb\u5ddd\u90e8 \u681e\u91cc<\/p>\n Ryuzaburo TAKAHASHI, Seria YAMAZAKI, Michiatsu KUMAMOTO, Ayaka HIRUMA,Itsuki OKAMOTO, Hirokazu SUZUKI, Shiori KAWABE<\/p>\n \u7b2c\uff13\u30fb\uff14\u6b21\u52a0\u66fd\u5229\u8c9d\u585a\u30c7\u30b8\u30bf\u30eb\u4e09\u6b21\u5143\u6e2c\u91cf\u30fb\u5730\u4e2d\u30ec\u30fc\u30c0\u30fc\u63a2\u67fb\uff08GPR\uff09\u8abf\u67fb\u6982\u5831<\/a><\/p>\n Digital 3D Measurement Survey and GPR Reserch at Kasori Shell Midden: Report of 3rd and 4th Reserch<\/p>\n \u25a0\u00a0\u30b4 \u30b7\u30f3\u30a4\u00a0 Xinyi WU<\/p>\n \u907c\u587c\u5ba4\u5893\u306e\u7acb\u4f53\u69cb\u9020\u306b\u95a2\u3059\u308b\u4e00\u8996\u70b9\u2500\u2500\u591a\u5ba4\u5893\u306b\u304a\u3051\u308b\u5929\u4e95\u90e8\u306e \u5f62\u614b\u304a\u3088\u3073\u901a\u5eca\u3068\u5893\u5ba4\u306e\u63a5\u7d9a\u95a2\u4fc2\u3092\u4e2d\u5fc3\u306b\u2500\u2500<\/a><\/p>\n A study of spatial structure of brick-chambered tombs in Liao<\/p>\n \u25a0\u00a0\u5289 \u5fb3\u51f1 Dekai LIU<\/p>\n \u6f22\u664b\u671f\u306b\u304a\u3051\u308b\u99ac\u8e44\u5f62\u5e2f\u91d1\u5177\u306e\u5206\u6790\u306b\u95a2\u3059\u308b\u8996\u70b9<\/a><\/p>\n A study of spatial structure of brick-chambered tombs in Liao<\/p>\n \u25a0 \u5ca1\u672c \u6a39 Itsuki OKAMOTO<\/p>\n \u6771\u5317\u5730\u65b9\u306b\u304a\u3051\u308b\uff13\u907a\u8de1\u306e\u88fd\u5869\u571f\u5668\u306e \u5f62\u614b\u7684\u7279\u5fb4\u306b\u3064\u3044\u3066\u306e\u4e00\u8996\u70b9<\/a><\/p>\n The shape of the salt making potteries in 3 sites of the Tohoku Region<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0\u570b\u5f18 \u6681\u5b50\u00a0 Akiko KUNIHIRO<\/p>\n \u300c\u30af\u30a4\u30a2\u300d\u306b\u4eba\u985e\u5b66\u5316\u3059\u308b\u305f\u3081\u306b\uff1a \u300c\u7b2c\u4e09\u300d\u304b\u3089\u30bc\u30ed\u3078\u306e\u8a66\u8ad6<\/a><\/p>\n Queerly Anthropologizing the third gender, Hijras of India<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 Futoshi SAKAUCHI<\/p>\n Trans-\/Trance-forming Everyday Living: A Study of Conor McPherson\u2019s The Weir<\/em><\/a><\/p>\n \u25a0Yuchen QIAN<\/p>\n On Authenticity in Photography<\/a><\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0Rihito MITSUI<\/p>\n Narrative Structure in Two English Translations of Tanizaki Jun\u2019ichir\u014d\u2019s Shunkinsh\u014d<\/em><\/a><\/p>\n <\/p>\n \u65e9\u7a32\u7530\u5927\u5b66\u5927\u5b66\u9662 \u6587\u5b66\u7814\u7a76\u79d1\u7d00\u8981\u00a0\u7b2c66\u8f2f 2021\u5e743\u670815\u65e5\u767a\u884c\u3001ISSN2432\u20157344 \u6587\u5b66\u7814\u7a76\u79d1\u7d00\u8981\u306fWeb\u306e\u307f\u306b\u3088\u308b\u516c\u958b\u3068\u306a\u308a\u307e\u3059\u3002\u518a\u5b50\u4f53\u3067\u306e\u767a\u884c\u306f\u3054\u3056\u3044\u307e\u305b\u3093\u3002 [\u54f2\u5b66] [\u6771\u6d0b\u54f2\u5b66] [\u5fc3\u7406\u5b66] [\u793e\u4f1a […]<\/p>\n","protected":false},"author":4,"featured_media":11759,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[64,28,118],"class_list":["post-10759","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-publications","tag-research","tag-bulletin-ja"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/posts\/10759","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/comments?post=10759"}],"version-history":[{"count":5,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/posts\/10759\/revisions"}],"predecessor-version":[{"id":11821,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/posts\/10759\/revisions\/11821"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/media\/11759"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/media?parent=10759"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/categories?post=10759"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/tags?post=10759"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}\n
\u54f2\u5b66 Philosophy<\/h4>\n
\u6771\u6d0b\u54f2\u5b66 Asian Philosophy<\/h4>\n
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\u82f1\u6587\u5b66 English Studies<\/h4>\n
\u30d5\u30e9\u30f3\u30b9\u8a9e\u30d5\u30e9\u30f3\u30b9\u6587\u5b66 French Studies<\/h4>\n
\u30c9\u30a4\u30c4\u8a9e\u30c9\u30a4\u30c4\u6587\u5b66 German Studies<\/h4>\n
\u30ed\u30b7\u30a2\u8a9e\u30ed\u30b7\u30a2\u6587\u5316 Russian Studies<\/h4>\n
\u4e2d\u56fd\u8a9e\u4e2d\u56fd\u6587\u5b66 Chinese Studies<\/h4>\n
\u6f14\u5287\u6620\u50cf\u5b66 Theatre and Film Arts<\/h4>\n
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\u65e5\u672c\u53f2\u5b66 Japanese History<\/h4>\n
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\u8868\u8c61\u30fb\u30e1\u30c7\u30a3\u30a2\u8ad6 Studies of Media, Body and Image<\/h4>\n
\u73fe\u4ee3\u30fb\u6587\u82b8 Creative Writing and Criticism<\/h4>\n
\u4e2d\u6771\u30fb\u30a4\u30b9\u30e9\u30fc\u30e0\u7814\u7a76 Middle Eastern and Islamic Studies<\/h4>\n
\u56fd\u969b\u65e5\u672c\u5b66 Global Japanese Literary and Cultural Studies<\/h4>\n
\n