\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>] [\u30a2\u30b8\u30a2\u5730\u57df\u6587\u5316\u5b66] [<\/a>\u8868\u8c61\u30fb\u30e1\u30c7\u30a3\u30a2\u8ad6<\/a>] <\/a><\/p>\n \u25a0\u00a0\u5c0f\u6797\u3000\u4fe1\u4e4b \u00a0 Nobuyuki KOBAYASHI<\/p>\n \u611f\u899a\u306e\u5fa9\u6a29 \u2500\u2500\u30ec\u30f4\u30a3\u30ca\u30b9\u306b\u304a\u3051\u308b\u8868\u8c61\u6279\u5224\u3001\u8d85\u8d8a\u306e\u4eab\u53d7\u3001\u8131= \u5185\u5b58\u5728\u2500\u2500<\/a><\/p>\n Levinas\u2019 rehabilitation of sensation: A critique on representation, enjoyment\u3000of the transcendent, and disinterest<\/p>\n \u25a0\u00a0\u5fa1\u5b50\u67f4\u3000\u5584\u4e4b \u00a0 Yoshiyuki MIKOSHIBA<\/p>\n \u300c\u9053\u5fb3\u6027\u300d\u6982\u5ff5\u306e\u518d\u691c\u8a0e\u2500\u2500\u30ab\u30f3\u30c8\u306e\u4e16\u754c\u5e02\u6c11\u4e3b\u7fa9\u3068\u306e\u95a2\u4fc2\u306b\u304a\u3044\u3066\u2500\u2500<\/a><\/p>\n Moralit\u00e4t und Weltb\u00fcrgertum bei Kant<\/p>\n \u25a0 \u82e5\u677e \u529f\u4e00\u90ce\u00a0\u00a0 Koichiro WAKAMATSU<\/p>\n \u9b42\u306b\u304a\u3051\u308b\u6216\u308b\u3072\u3068\u3064\u306e\u529b\u2500\u2500\u30a8\u30c3\u30af\u30cf\u30eb\u30c8\u306e\u4f9d\u62e0\u3057\u305f\u80fd\u52d5\u77e5\u6027\u8ad6\u2500\u2500<\/a><\/p>\n \u2018Eine Kraft in der Seele\u2019 Die Theorie vom Intellectus agens bei Meister Eckhart<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6e21\u9089 \u7fa9\u6d69\u00a0\u00a0 Yoshihiro WATANABE<\/p>\n \u300e\u53e4\u53f2\u8003\u300f\u3068\u300e\u5e1d\u738b\u4e16\u7d00\u300f\u2500\u2500\u5112\u654e\u306b\u5373\u3057\u305f\u4e0a\u53e4\u53f2\u3068\u751f\u6210\u8ad6\u2500\u2500<\/a><\/p>\n \u2018Gu shi kao\uff08\u53e4\u53f2\u8003\uff09\u2019 and \u2018di wang shi ji\uff08\u5e1d\u738b\u4e16\u7d00\uff09\u2019: History before wu ti and discussion consider the existence of all things closely related to Confucianism<\/p>\n \u25a0\u00a0\u4e45\u4fdd\u7530\u3000\u6b63\u5b8f \u00a0 Masahiro KUBOTA<\/p>\n \u5b8b\u4ee3\u5929\u53f0\u306b\u304a\u3051\u308b\u521d\u5fc3\u8d77\u6559\u8aac\u306e\u5c55\u958b<\/a><\/p>\n The Transformation of the Theory of \u201cChuxin Qijiao \u521d\u5fc3\u8d77\u6559\u201d in Song Period Tiantai Thought<\/p>\n \u25a0\u00a0\u5289 \u73c9 \u00a0 Liu Min<\/p>\n \u6700\u6669\u5e74\u306e\u738b\u967d\u660e\u306b\u898b\u3089\u308c\u308b\u653f\u6cbb\u5fd7\u5411\u306b\u3064\u3044\u3066<\/a><\/p>\n A Discussion of Wang Yangming\u2019s Political Ambitions in His Late Years<\/p>\n \u25a0\u00a0\u9ed2\ufa11\u3000\u6075\u8f14 \u00a0 Keisuke KUROSAKI<\/p>\n \u6f22\u4ee3\u793c\u5b66\u306b\u304a\u3051\u308b\u300c\u7d4c\u300d\u300c\u8a18\u300d\u304b\u3089\u300c\u7fa9\u300d\u3078\u306e\u5c55\u958b\u306b\u3064\u3044\u3066\u2500\u2500\u300e\u793c\u8a18\u300f\u51a0\u7fa9\u7bc7\u3092\u4e2d\u5fc3\u306b\u2500\u2500<\/a><\/p>\n About the Development from \u201cJing \u7d4c\u201d and \u201cJi \u8a18\u201d to \u201cYi \u7fa9\u201d on Study of the Ritual in the Han Dynasty: With a focus on \u201cGuan yi pian \u51a0\u7fa9\u7bc7\u201d in \u201cLi Ji \u793c\u8a18\u201d.<\/p>\n \u25a0\u00a0\u9577\u8c37\u5ddd\u3000\u9686\u4e00\u00a0Ryuichi HASEGAWA<\/p>\n \u56fd\u306f\u8ce2\u3092\u4ee5\u3066\u8208\u308b\u2500\u2500\u300e\u6f5c\u592b\u8ad6\u300f\u306b\u304a\u3051\u308b\u73fe\u72b6\u6279\u5224\u3068\u8ce2\u4eba\u89b3\u304b\u3089\u552f\u624d\u4e3b\u7fa9\u3078\u2500\u2500<\/a><\/p>\n Guo yi xian xing: From criticism of present and view of sage in \u201cQian fu lun\u201d to \u201cwet cai zhu yi(meritocracy)\u201d<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u85e4\u91ce\u3000\u4eac\u5b50 Kyoko FUJINO<\/p>\n \u5973\u6027\u8ca1\u7523\u72af\u306e\u4eba\u751f\u306e\u8a9e\u308a\u306e\u5206\u6790<\/a><\/p>\n Analysis of life story of female property offenders<\/p>\n \u25a0 \u6a4b\u672c\u3000\u6cf0\u592e Yasuhiro HASHIMOTO<\/p>\n \u8f9e\u66f8\u7684\u30a2\u30d7\u30ed\u30fc\u30c1\u306b\u3088\u308b\u5bfe\u4eba\u7279\u6027\u8a9e\u306e\u9078\u5b9a<\/a><\/p>\n A Psycho-lexical Study of Japanese Interpersonal Trait Words<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0\u00a0\u8349\u67f3\u3000\u5343\u65e9 \u00a0 Chihaya KUSAYANAGI<\/p>\n \u8eab\u4f53\u3068\u793e\u4f1a\u79e9\u5e8f\u2500\u2500\u300c\u304b\u3089\u3060\u306e\u58f0\u3092\u304d\u304f\u300d\u8a00\u8aac\u304b\u3089\u307f\u308b\u2500\u2500<\/a><\/p>\n The Body and Social Order: A View from a Discourse\u3000on \u201cListening to the Voice of the Body\u201d<\/p>\n \u25a0 \u7530\u8fba\u3000\u4fca\u4ecb \u00a0 Shunsuke TANABE<\/p>\n \u300c\u5acc\u97d3\u300d\u306e\u62c5\u3044\u624b\u3068\u8981\u56e0\u3000\u2500\u25002009\u5e74\u30682013\u5e74\u306e\uff12\u6642\u70b9\u306e\u30c7\u30fc\u30bf\u5206\u6790\u306b\u3088\u308b\u89e3\u660e\u2500\u2500<\/a><\/p>\n A Statistical Investigation on Anti-Korean Sentiments in Japan:Comparative Analysis of 2009 and 2013 data<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0\u00a0\u5897\u5c71\u3000\u5747 \u00a0 Hitoshi MASHIYAMA<\/p>\n \u9234\u6728\u9053\u592a\u306b\u304a\u3051\u308b\u5b50\u3069\u3082\u306e\u6a29\u5229\u8a8d\u8b58\u3068\u300c\u5b50\u3069\u3082\u4f1a\u8ad6\u300d<\/a><\/p>\n Suzuki Michita\u2019s \u201cChild Association Theory\u201d and Child\u2019s Rights Recognition<\/p>\n \u25a0 \u9ad8\u77f3 \u5553\u4eba\u00a0\u00a0 Akito TAKAISHI<\/p>\n \u30b9\u30af\u30fc\u30eb\u30bd\u30fc\u30b7\u30e3\u30eb\u30ef\u30fc\u30ab\u30fc\u6cd5\u5236\u5316\u3092\u3081\u3050\u308b\u8ab2\u984c\u3068\u5c55\u671b<\/a><\/p>\n The Study of the Process and Problems about School Social Worker\u2019s Legislation<\/p>\n \u25a0\u00a0\u7530\u3000\u7a3c\u4e4b \u00a0 Jiazhi TIAN<\/p>\n \u4e2d\u56fd\u9ad8\u7b49\u6559\u80b2\u30b7\u30b9\u30c6\u30e0\u306b\u304a\u3051\u308b\u91cd\u70b9\u5927\u5b66\u306e\u5f79\u5272 \u2500\u2500\u6559\u80b2\u30b5\u30fc\u30d3\u30b9\u306b\u6ce8\u76ee\u3057\u3066\u2500\u2500<\/a><\/p>\n Roles of Priority University in China Higher Education System\u3000\u2500 Focusing on educational services \u2500<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6c60\u6fa4\u3000\u4e00\u90ce\u00a0\u00a0 Ichiro IKEZAWA<\/p>\n \u6f22\u8a69\u4eba\u5409\u7530\u6771\u4f0d\u2500\u2500\u300e\u570b\u671d\u8a69\u7d9c\u300f\u3068\u300e\u677e\u96f2\u8a69\u8349\u300f\u2500\u2500<\/a><\/p>\n Dr. Togo Yoshida as a poet of Chinese characters \u2500 Dr.Yoshida\u2019s attemptions of selecting of Chinese poems by Japanese poets \u25a0\u00a0\u5b97\u50cf\u3000\u548c\u91cd \u00a0 Kazushige MUNAKATA<\/p>\n \u3082\u3046\u4e00\u3064\u306e\u300e\u6587\u7ae0\u4e16\u754c\u300f\u2500\u2500\u5927\u6708\u9686\u3068\u6587\u5b66\u540c\u5fd7\u4f1a\u306e\u3053\u3068\u3069\u3082\u2500\u2500<\/a><\/p>\n The magazine named another \u201cBunsho-Sekai\u201d:On Otsuki Takash and Bungaku-Doshikai<\/p>\n \u25a0\u00a0\u91d1\u5b50\u3000\u82f1\u548c \u00a0 Eiwa KANEKO<\/p>\n \u4ec1\u548c\u5bfa\u3068\u4e94\u5341\u9996\u6b4c\u2500\u2500\u5fa1\u5ba4\u4e94\u5341\u9996\u3068\u9053\u52a9\u6cd5\u89aa\u738b\u5bb6\u4e94\u5341\u9996\u3092\u4e2d\u5fc3\u306b\u2500\u2500<\/a><\/p>\n Ninnaji and fifty Japanese songs about Omuro-gojussyu and Doujohossinno-gojussyu.<\/p>\n \u25a0 \u6edd\u6fa4\u3000\u307f\u304b \u00a0 Mika TAKIZAWA<\/p>\n \u6d25\u7530\u845b\u6839\u3068\u66f8\u7269\u3068\u306e\u9082\u9005\u2500\u2500\u65e9\u7a32\u7530\u5927\u5b66\u56f3\u66f8\u9928\u8535\u300e\u4fdd\u5143\u7269\u8a9e\u300f\u300e\u5e73\u6cbb\u7269\u8a9e\u300f\u8cfc\u5165\u306e\u80cc\u666f\u2500\u2500<\/a><\/p>\n Tsuda Kuzune and books \u2500 The background of purchase of \u201cHogen monogatari\u201d and \u201cHeiji monogatari\u201d at Waseda University Library \u2500<\/p>\n \u25a0 \u5927\u5d8b\u3000\u3055\u3084\u304b\u00a0 Sayaka OHSHIMA<\/p>\n \u8429\u539f\u6714\u592a\u90ce\u300c\u611b\u56fd\u8a69\u8ad6\u300d\u306e\u82b8\u8853\u89b3\u2500\u2500\u300e\u6708\u306b\u5420\u3048\u308b\u300f\u524d\u671f\u304b\u3089\u8a69\u96c6\u520a\u884c\u524d\u5f8c\u306e\u691c\u8a0e\u2500\u2500<\/a><\/p>\n The idea of art in \u201cThe poetics aikoku\u201d by Hagiwara Sakutaro \u2500 From the former half of \u201cTsuki-ni-hoeru\u201d to the publication a book<\/p>\n \u25a0\u00a0\u7a74\u4e95\u00a0 \u6f64 Jun ANAI<\/p>\n \u300e\u4fdd\u5ef6\u306e\u3053\u308d\u307b\u3072\u300f\u518d\u8003<\/a><\/p>\n Reconsideration of \u201cHOEN NO KOR\u00d4I\u201d<\/p>\n \u25a0\u00a0\u677e\u8449\u3000\u53cb\u60df\u00a0 Yui MATSUBA<\/p>\n \u56fd\u5206\u9752\u5393\u8a55\u6797\u8a69\u3068\u6b63\u5ca1\u5b50\u898f\u306e\u65b0\u4f53\u8a69 \u2500\u2500\u300c\u6c34\u6ea2\u8863\u6590\u5ddd\u300d\u3068\u300c\u6d2a\u6c34\u300d\u2500\u2500<\/a><\/p>\n Kokubu Seigai\u2019s Chinese poetry discussing current events and Masaoka Shiki\u2019s new style poetry<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6885\u5bae\u3000\u5275\u9020\u00a0 Sozo UMEMIYA<\/p>\n \u300e\u30a8\u30c9\u30a6\u30a3\u30f3\u30fb\u30c9\u30eb\u30fc\u30c9\u306e\u8b0e\u300f\u306b\u304a\u3051\u308b\u8b0e<\/a><\/p>\n Mysteries in The Mystery of Edwin Drood<\/em><\/p>\n \u25a0 Hiroko SAITO<\/p>\n Story of an Issei Father, but Really the Story of a Human Being \u2500\u2500 Reading\u3000\u201cLas Vegas Charley\u201d beyond the racial perspective \u2500\u2500<\/a><\/p>\n \u25a0 Ryo MORII<\/p>\n Monnaie inerte, monnaie vivante :le th\u00e8me du corps-fortune chez Gide (2)<\/a><\/p>\n \u25a0\u00a0\u7af9\u7530\u3000\u5343\u7a42 \u00a0 Chiho TAKEDA<\/p>\n \u300c\u71c3\u3084\u3059\u8005\u300d\u300c\u71c3\u3048\u308b\u8005\u300d\u300c\u9003\u308c\u308b\u8005\u300d\uff1a\u300cBal des ardents \u71c3\u3048\u308b\u8005\u9054\u306e\u821e\u8e0f\u4f1a\u300d\u306e\u4e2d\u3067\u30d5\u30ed\u30ef\u30b5\u30fc\u30eb\u304c\u63cf\u304f\u30a4\u30e1\u30fc\u30b8\u306b\u3064\u3044\u3066<\/a><\/p>\n La construction de la trag\u00e9die dans le bal des ardents d\u00e9crit par Jean Froissart<\/p>\n \u25a0\u00a0\u5409\u7530\u3000\u96bc\u4eba \u00a0 Hayato YOSHIDA<\/p>\n \u8457\u8005\u3068\u8aad\u8005\u306e\u4f9b\u5100\u2500\u2500\u30b8\u30e7\u30eb\u30b8\u30e5\u30fb\u30d0\u30bf\u30a4\u30e6\u300e\u7121\u795e\u5b66\u5927\u5168\u300f\u306b\u304a\u3051\u308b\u3008\u79c1\u3009\u306e\u4f4d\u7f6e\u2500\u2500<\/a><\/p>\n Le sacrifice entre auteur et lecteur : le statut du \u00abje\u00bb sc\u00e9nique dans La somme ath\u00e9ologique de Georges Bataille<\/em><\/p>\n \u25a0\u00a0\u4f0a\u85e4\u3000\u7422\u9ebb \u00a0 Takuma ITO<\/p>\n \u30b7\u30e5\u30eb\u30ec\u30a2\u30ea\u30b9\u30e0\u671f\u306e\u30c4\u30a1\u30e9\u306b\u304a\u3051\u308b\u300c\u8ee2\u79fb\u300d\u306e\u554f\u984c<\/a><\/p>\n \u00ab Transfert \u00bb chez Tzara dans la p\u00e9riode surr\u00e9aliste<\/p>\n \u25a0 Kei MORIWAKI<\/p>\n L\u00e9gitimation de la litt\u00e9rature au travers de la cuisine et de la figure de la grand-m\u00e8re dans Victoire, les saveurs et les mots<\/em>, de Maryse Cond\u00e9<\/a><\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 Arne KLAWITTER<\/p>\n Das lyrische Echo einer Weltreise. \u00c4sthetische Diversit\u00e4t in Max Dauthendeys\u3000Reiseversepos Die gefl\u00fcgelte Erde<\/em> (1910)<\/a><\/p>\n \u25a0\u00a0\u9ce5\u5c71\u3000\u660e\u65e5\u9999 \u00a0 Asuka TORIYAMA<\/p>\n \u300c\u9ed9\u308b\u3068\u5c45\u5fc3\u5730\u304c\u60aa\u304f\u3001\u8a71\u3092\u3059\u308b\u3068\u6ed1\u7a3d\u306b\u306a\u308b\u300d\u30d8\u30eb\u30bf\u30fb\u30df\u30e5\u30e9\u30fc\u300e\u5fc3\u7363\u300f\u306b\u304a\u3051\u308b\u300c\u9650\u754c\u300d\u3078\u306e\u62b5\u6297<\/a><\/p>\n \u201eWenn wir schweigen, werden wir unangenehm, wenn wir reden, werden wir l\u00e4cherlich.\u201d\u3000Widerstand gegen die Grenze in Herta M\u00fcllers Herztier<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u4f0a\u6771\u3000\u4e00\u90ce\u00a0\u00a0 Ichiro ITO<\/p>\n \u30b9\u30e9\u30f4\uff1d\u30d0\u30eb\u30ab\u30f3\u30fb\u30d5\u30a9\u30fc\u30af\u30ed\u30a2\u306b\u304a\u3051\u308b\u30a2\u30ec\u30b4\u30ea\u30fc\u300c\u6b7b\uff1d\u7d50\u5a5a\u300d<\/a><\/p>\n \u041e\u0431\u0440\u0430\u0437 \u00ab\u0441 \u043c\u0435\u0440\u0442\u0438-\u0441 \u0432\u0430\u0434\u044c\u0431\u044b\u00bb \u0432 \u0431 \u0430\u043b\u043a\u0430\u043d\u043e-\u0441 \u043b\u0430\u0432\u044f\u043d\u0441\u043a\u043e\u043c \u0444\u043e\u043b\u044c\u043a\u043b\u043e\u0440\u0435<\/p>\n \u25a0\u00a0\u8349\u91ce\u3000\u6176\u5b50 \u00a0 Keiko KUSANO<\/p>\n \u51b7\u305f\u3055\u3068\u75db\u307f\u2500\u2500\u30b8\u30ca\u30a4\u30fc\u30c0\u30fb\u30ae\u30c3\u30d4\u30a6\u30b9\u306e\u76ae\u819a\u306e\u611f\u899a\u3000\uff08\u66f8\u7c21\u3068\u521d\u671f\u6292\u60c5\u8a69\u3088\u308a\uff09\u2500\u2500<\/a><\/p>\n The Skin Feels Cold and Pain: the Body Narratives of Zinaida Gippius<\/p>\n \u25a0\u6e90\u3000\u8cb4\u5fd7 \u00a0 Takashi MINAMOTO<\/p>\n \u30ed\u30b7\u30a2\u8a9e\u8a73\u89e3\u8f9e\u5178\u306e\u898f\u7bc4\u6027\u3068\u5404\u7a2e\u30a2\u30ab\u30c7\u30df\u30fc\u8f9e\u5178 \u2500\u2500\u3008\u5c0f\u8f9e\u5178\u3009\u306e\u65b0\u5c55\u958b\u306b\u56e0\u3093\u3067\u2500\u2500<\/a><\/p>\n \u0421\u043e\u0432\u0440\u0435\u043c\u0435\u043d\u043d\u0430\u044f \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0430 \u043d\u043e\u0440\u043c\u0430\u043b\u044c\u043d\u043e\u0441\u0442\u0438 \u0432 \u0440\u0443\u0441\u0441\u043a\u0438\u0445 \u0442\u043e\u043b\u043a\u043e\u0432\u044b\u0445 \u0441\u043b\u043e\u0432\u0430\u0440\u044f\u0445 \u0432 \u0441\u0432\u044f\u0437\u0438 \u0441 \u0440\u0430\u0437\u043d\u043e\u0432\u0438\u0434\u043d\u043e\u0441\u0442\u044c\u044e \u0430\u043a\u0430\u0434\u0435\u043c\u0438\u0447\u0435\u0441\u043a\u0438\u0445 \u0441\u043b\u043e\u0432\u0430\u0440\u0435\u0439<\/p>\n \u25a0 \u7af9\u5185\u3000\u30ca\u30bf\u30fc\u30b7\u30e3 \u00a0 Natasha TAKEUCHI<\/p>\n \u904a\u622f\u3059\u308b\u300c\u7070\u8272\u306e\u670d\u306e\u4f55\u8005\u304b\u300d\u2500\u2500\u30bd\u30ed\u30b0\u30fc\u30d7\u306e\u6f14\u5287\u89b3\u3068\u30a2\u30f3\u30c9\u30ec\u30fc\u30a8\u30d5\u306e\u622f\u66f2\u2500\u2500<\/a><\/p>\n \u0418\u0433\u0440\u0430\u044e\u0449\u0438\u0439 \u00ab\u041d\u0435\u043a\u0442\u043e \u0432 \u0441\u0435\u0440\u043e\u043c\u00bb: \u0432\u0437\u0433\u043b\u044f\u0434 \u0421\u043e\u043b\u043e\u0433\u0443\u0431\u0430 \u043d\u0430 \u0442\u0435\u0430\u0442\u0440 \u0438 \u043f\u044c\u0435\u0441\u0430 \u0410\u043d\u0434\u0440\u0435\u0435\u0432\u0430<\/p>\n \u25a0 \u5b89\u91ce\u00a0 \u76f4 \u00a0 Sunao YASUNO<\/p>\n \u30ed\u30b7\u30a2\u5973\u6027\u5927\u8846\u5c0f\u8aac\u306b\u304a\u3051\u308b\u300c\u65b0\u3057\u3044\u5973\u6027\u300d\u306e\u30f4\u30a3\u30b8\u30e7\u30f3\u2500\u2500\u30a8\u30f4\u30c9\u30ad\u30e4\u30fb\u30ca\u30b0\u30ed\u30c4\u30ab\u30e4 \u300e\u30c7\u30a3\u30aa\u30cb\u30e5\u30bd\u30b9\u306e\u6012\u308a\u300f\u3092\u3081\u3050\u3063\u3066\u2500\u2500<\/a><\/p>\n The Vision of \u201cNew Woman\u201d in the Popular Novels for Women in Russia: On The Wrath of Dionysus<\/em> Written by Evdokia Nagrodskaia<\/p>\n \u25a0 \u7a3b\u7551\u3000\u8015\u4e00\u90ce\u00a0\u00a0 Koichiro INAHATA<\/p>\n \u5730\u7406\u5b78\u8005\u5fd7\u8cc0\u91cd\u663b\u306e\ufa47\u8a69 \u2500\u2500\u30a2\u30e9\u30e2\u907a\u8de1\u306b\u7acb\u3064\u300c\ufa47\u8a69\u7891\u300d\u306b\u89f8\u308c\u3066\u2500\u2500<\/a><\/p>\n Geographer Shigetaka Shiga\u2019s poem in Classical Chinese<\/p>\n \u25a0\u00a0 Masako NAITO<\/p>\n A Comparative Approach to the Contexts of Tacit Communication<\/a><\/p>\n \u25a0\u00a0\u694a\u3000\u99ff\u9a4d \u00a0 Junxiao YANG<\/p>\n \u4e2d\u56fd\u306b\u304a\u3051\u308b\u97f3\u697d\u30e1\u30c7\u30a3\u30a2\u3068\u30b3\u30df\u30e5\u30cb\u30b1\u30fc\u30b7\u30e7\u30f3\u306e\u878d\u5408<\/a><\/p>\n The Convergence of Music Media and Communication in China<\/p>\n \u25a0 \u67ef \u660e \u00a0 Ming KE<\/p>\n \u539f\u91c7\u860b\u306e\u8a69\u306b\u898b\u308b\u6642\u9593\u610f\u8b58\u2500\u2500\u305d\u306e\u8868\u73fe\u3068\u7279\u8cea\u2500\u2500<\/a><\/p>\n Time Ideology in Hara Saihin\u2019s Kanshi \u2500 Expressions and Features<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u85e4\u4e95\u3000\u614e\u592a\u90ce \u00a0 Shintaro FUJII<\/p>\n \u6f14\u5287\u3068\u516c\u5171\u6027\u3000\u30d5\u30e9\u30f3\u30b9\u3068\u65e5\u672c\u306e\u6bd4\u8f03\u3092\u901a\u3058\u3066<\/a><\/p>\n An Essay on Theatre and \u2018public\u2019: Comparison between France and Japan<\/p>\n \u25a0 \u5449\u5bae\u3000\u767e\u5408\u9999 \u00a0 Yurika KUREMIYA<\/p>\n \u30df\u30e2\u30b6\u3068\u306f\u300c\u8ab0\u300d\u304b\u2500\u2500 (M)imosa\/Twenty Looks or Paris is Burning at the Judson Church (M)<\/em> (2011) \u306b\u304a\u3051\u308b\u67b6\u7a7a\u540d\u306e\u4f7f\u7528\u306e\u52b9\u679c\u2500\u2500<\/a><\/p>\n Who<\/em> is Mimosa?: Effect of fictional name in (M)imosa\/Twenty Looks or Paris is Burning at the Judson Church (M)<\/em> (2011)<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u76ca\u7530\u3000\u670b\u5e78\u3000Tomoyuki MASUDA<\/p>\n \u30d1\u30ca\u30ae\u30a2\u30fb\u30da\u30ea\u30d6\u30ec\u30d7\u30c8\u30b9\u8056\u5802\uff08\u30aa\u30d5\u30ea\u30c9\uff09\u30d7\u30ed\u30c6\u30b7\u30b9\u306e\u88c5\u98fe\u30d7\u30ed\u30b0\u30e9\u30e0<\/a><\/p>\n Iconographical Program of the Prothesis in the Church of Panagia Peribleptos, Ohrid<\/p>\n \u25a0 \u6b66\u7530 \u4e00\u6587\u3000Kazufumi TAKEDA<\/p>\n \u30d3\u30b6\u30f3\u30c6\u30a3\u30f3\u7f8e\u8853\u306b\u304a\u3051\u308b\u300c\u8056\u6bcd\u306e\u7720\u308a\u300d\u56f3\u50cf\u306e\u5178\u62e0\u3068\u30a4\u30b3\u30ce\u30b0\u30e9\u30d5\u30a3\u30fc\u3092\u5de1\u308b\u8af8\u554f\u984c\u306b\u3064\u3044\u3066<\/a><\/p>\n Some Considerations on the Dormition of the Virgin in Byzantine Art:its sources and iconography<\/p>\n \u25a0 \u798f\u7530\u3000\u6dd1\u5b50\u00a0 Yoshiko FUKUDA<\/p>\n \u300c\u592a\u967d\u306e\u8056\u6bcd\u300d\u3092\u3081\u3050\u3063\u3066\u2500\u2500\u30de\u30ea\u30a2\u56f3\u50cf\u306e\u5909\u5bb9\u3068\u305d\u306e\u610f\u5473\u2500\u2500<\/a><\/p>\n The \u2018Virgo in sole\u2019: The transfiguration bihind the Iconography of Virgin Maria<\/p>\n \u25a0 \u5c71\u7530\u3000\u9686\u884c\u3000Takayuki YAMADA<\/p>\n \u81fc\u4e95\u6587\u5e73\u4f5c\u300a\u5c4b\u4e0a\u306e\u30d1\u30fc\u30c6\u30a3\u30fc\u300b\u306b\u95a2\u3059\u308b\u4e00\u8003\u5bdf\u2500\u2500\u30b8\u30e7\u30f3\u30fb\u30b9\u30ed\u30fc\u30f3\u3001\u7981\u9152\u6cd5\u3001\u79fb\u6c11\u6cd5\u3068\u306e\u95a2\u9023\u304b\u3089\u2500\u2500<\/a><\/p>\n An Analysis on Bumpei Usui\u2019s Rooftop Party<\/em> in Relation to John Sloan, Prohibition, and Immigration<\/p>\n \u25a0 \u592a\u7530\u3000\u82f1\u4f36\u5948\u3000Erena OTA<\/p>\n \u547d\u306e\u6cc9\u306e\u8056\u6240\u2500\u2500\u30b3\u30f3\u30b9\u30bf\u30f3\u30c6\u30a3\u30ce\u30dd\u30ea\u30b9\u306e\u30d4\u30ae\u4fee\u9053\u9662\u518d\u8003\u2500\u2500<\/a><\/p>\n Pege Monastery: its Physical Setting<\/p>\n \u25a0 \u672c\u9593\u3000\u7f8e\u7d00\u3000Miki HOMMA<\/p>\n \u30da\u30eb\u30b7\u30a2\u7d75\u753b\u306b\u304a\u3051\u308b\u660e\u4ee3\u82b1\u9ce5\u753b\u306e\u53d7\u5bb9<\/a><\/p>\n The Acceptance of Ming Bird-and-flower Painting in Persian Painting<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0\u00a0\u4f0a\u5ddd\u3000\u5065\u4e8c \u00a0 Kenji IGAWA<\/p>\n \u4e00\u516d\u4e16\u7d00\u306e\u6771\u30a2\u30b8\u30a2\u306b\u304a\u3051\u308b\u975e\u516c\u5f0f\u8cbf\u6613\u306e\u5177\u4f53\u50cf<\/a><\/p>\n The Concrete Image of unofficial Trade in the Sixteenth Century East Asia<\/p>\n \u25a0\u00a0\u8c37\u53e3\u3000\u771e\u5b50 \u00a0 Shinko TANIGUCHI<\/p>\n \u4e00\u4e5d\u4e09\u3007\u5e74\u4ee3\u306e\u4f50\u8cc0\u306b\u304a\u3051\u308b\u300c\u8449\u96a0\u300d\u306e\u9855\u5f70\u3068\u5b66\u6821\u6559\u80b2 \u2500\u2500\u300c\u8449\u96a0\u300d\u3092\u3081\u3050\u308b\u300c\u8a18\u61b6\u306e\u5834\u300d\u3068\u300c\u6559\u80b2\u306e\u5834\u300d\u2500\u2500<\/a><\/p>\n The Commemoration of \u201cHagakure\u201d and its School Education at Saga in 1930\u2019s<\/p>\n \u25a0 \u6c60\u30ce\u8c37\u3000\u5321\u7950 \u00a0 Kyosuke IKENOYA<\/p>\n \u5409\u5b97\u671f\u306b\u304a\u3051\u308b\u5fa1\u4e09\u537f\u5c4b\u5f62\u5fa1\u6210\u306e\u653f\u6cbb\u7684\u610f\u7fa9 \u2500\u2500\u7530\u5b89\u5bb6\u3092\u4e2d\u5fc3\u306b\u2500\u2500<\/a><\/p>\n The political significance of Gosankyo\u2019s mansion Onari in Yoshimune period \u2500 focusing on House of Tayasu \u2500<\/p>\n \u25a0 \u677e\u8c37\u3000\u6607\u8535 \u00a0 Shozo MATSUTANI<\/p>\n \u5b98\u50da\u4efb\u7528\u5236\u5ea6\u78ba\u7acb\u671f\u306b\u304a\u3051\u308b\u6587\u90e8\u7701\u3068\u6587\u90e8\u7701\u8996\u5b66\u5b98<\/a><\/p>\n The Japanese Ministry of Education and School Inspectors of it in the Era of the Establishment of the Bureaucracy Appointments<\/p>\n \u25a0 \u8881\u3000\u7532\u5e78 \u00a0 Jiaxing YUAN<\/p>\n \u4e09\u65b0\u6cd5\u6210\u7acb\u307e\u3067\u306e\u300c\u5e9c\u770c\u300d\u306e\u4f4d\u7f6e\u3065\u3051\u2500\u2500\u5e9c\u770c\u306e\u5e81\u820e\u55b6\u7e55\u3092\u624b\u304c\u304b\u308a\u306b\u2500\u2500<\/a><\/p>\n The Position of Prefectures up to the Enactment of the Three New Laws System: Focusing on the Building-and-Repair Affairs of the Prefectural Offices<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0\u00a0\u6751\u7530\u3000\u5cb3 \u00a0 Gaku MURATA<\/p>\n \u5317\u5b8b\u524d\u534a\u306e\u672c\u8cab\u53d6\u89e3\u306b\u3064\u3044\u3066<\/a><\/p>\n An application of civil service examination at legal address(Benguan Quxie) in early Nothern Song<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u751a\u91ce\u3000\u5c1a\u5fd7\u00a0 Takashi JINNO<\/p>\n \u671d\u6cb3\u8cab\u4e00\u306e\u897f\u6d0b\u4e2d\u4e16\u53f2\u306e\u7814\u7a76\u3068\u6559\u80b2\u6d3b\u52d5\u2500\u2500\u30a4\u30a7\u30fc\u30eb\u5927\u5b66\u6240\u8535 \u300e\u671d\u6cb3\u8cab\u4e00\u6587\u66f8\uff08Asakawa Papers\uff09\u300f\u306e\u5206\u6790\u304b\u3089\u2500\u2500<\/a><\/p>\n Research and Teaching on European Medieval History by Kan\u2019ichi Asakawa \u2500 A Study of \u201cAsakawa Papers\u201d owned by Yale University<\/p>\n \u25a0 \u524d\u7530\u3000\u5fb9\u00a0 Tohru MAEDA<\/p>\n \u30a6\u30eb\u7b2c\u4e09\u738b\u671d\u6642\u4ee3\u306e\u96c6\u8a08\u6587\u66f8<\/p>\n Three Types of Sumerian Accounting Records in the Ur III Dynasty<\/a><\/p>\n \u25a0\u00a0\u677e\u5712\u00a0 \u4f38 \u00a0 Shin MATSUZONO<\/p>\n \u8b70\u9662\u66f8\u8a18\u306e\u6d3b\u52d5\u3068\u30a4\u30ae\u30ea\u30b9\u8b70\u4f1a\u653f\u6cbb\uff081\uff09\u3000 \u4e2d\u4e16\u8b70\u4f1a\u304b\u308917\u4e16\u7d00\u307e\u3067<\/a><\/p>\n Parliamentary Clerks and English Parlaimentary Politics \u2500 from medieval age to the seventeenth century<\/p>\n \u25a0\u00a0\u6797\u00a0 \u8ce2\u6cbb\u00a0Kenji HAYASHI<\/p>\n \u4e8c\u91cd\u4fee\u9053\u9662\u306e\u77db\u76fe\u3068\u3001\u4fee\u9053\u58eb\uff0f\u4fee\u9053\u5973\u305f\u3061\u306e\u5bfe\u5fdc \u2500\u2500\u5947\u8de1\u8b5a\u3068\u30a2\u30c9\u30e2\u30f3\u30c8\u6163\u7fd2\u5f8b\u306e\u76f8\u95a2\u2500\u2500<\/a><\/p>\n Der Widerspruch des Doppelkloster \u2500 Die Wechselbeziehung zwischen Miracula und Consuetudines Admontenses<\/p>\n \u25a0 \u5927\u6eaa\u3000\u592a\u90ce \u00a0 Taro OTANI<\/p>\n \u6b74\u53f2\u5bb6J\u30fbE\u30fb\u30b5\u30fc\u30b7\u30e5\u306e\u30b9\u30ab\u30f3\u30c7\u30a3\u30ca\u30f4\u30a3\u30a2\u4e3b\u7fa9\u8ad6 \u2500\u2500\u30ce\u30eb\u30a6\u30a7\u30fc\u306e\u5de6\u6d3e\u306b\u304a\u3051\u308b\u4e00\u4f8b\u3068\u3057\u3066\u2500\u2500<\/a><\/p>\n Historian J. E. Sars\u2019s Scandinavianist arguments: A study of Scandinavianism of the Norwegian left<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u7530\u7551\u5e78\u55e3\u30fb\u5c0f\u5ca9\u6b63\u6a39\u30fb\u4e2d\u5ddd\u6b66\u30fbSo Sokuntheary\u30fb\u6210\u4e95\u81f3\u30fb\u5965\u52c7\u4ecb\u30fb\u5ddd\u4e0a\u771f\u90a3\u30fb\u6a2a\u5c71\u672a\u6765\u30fb\u5800\u5ddd\u6d38\u592a\u6717\u30fb\u8fbb\u89d2\u6843\u00a0\u00a0Yukitsugu TABATA, Masaki KOIWA, Takeshi NAKAGAWA, SO Sokuntheary, Itaru NARUI, Yusuke OKU, Mana KAWAKAMI, Miku YOKOYAMA, Kotaro HORIKAWA, Momoko TSUJIKADO<\/p>\n \u30ab\u30f3\u30dc\u30b8\u30a2\u3001\u30b5\u30f3\u30dc\u30fc\u30fb\u30d7\u30ec\u30a4\u30fb\u30af\u30c3\u30af\u907a\u8de1\u7fa4N1\u7960\u5802\u306e\u767a\u6398\u8abf\u67fb\uff1a2016\u5e74\uff18\u6708<\/a><\/p>\n Archeological Investigation on the Sambor Prei Kuk Monuments: August 2016<\/p>\n \u25a0\u30a2\u30d6\u30c7\u30eb\u30a2\u30fc\u30eb \u30a2\u30cf\u30e1\u30c9\u00a0 Ahmed ABDELAAL<\/p>\n \u4e0a\u30a8\u30b8\u30d7\u30c8\u7b2c\uff14\u30ce\u30e2\u30b9\u306b\u304a\u3051\u308b\u30e1\u30f3\u30c1\u30e5\u30a6\u4fe1\u4ef0\u306e\u8d77\u6e90\u3068\u5c55<\/a>\u958b<\/p>\n The Origin and History of the Cult of Montu (Mnt-w<\/em>) at the fourth Nome of the Upper Egypt.<\/p>\n \u25a0\u00a0\u5c71\u5d0e\u3000\u4e16\u7406\u611b \u00a0 Seria YAMAZAKI<\/p>\n \u30a8\u30b8\u30d7\u30c8\u4e2d\u738b\u56fd\u6642\u4ee3\u306e\u300c\u5bae\u5ef7\u30bf\u30a4\u30d7\uff08Court type\uff09\u300d\u306e\u57cb\u846c\u3068\u3044\u3046\u67a0\u7d44\u307f\u306b\u3064\u3044\u3066 \u2500\u2500\u8003\u53e4\u8cc7\u6599\u3092\u4e2d\u5fc3\u3068\u3057\u305f\u8b70\u8ad6\u2500\u2500<\/a><\/p>\n Reconsideration on the \u2018Court Type\u2019 Burials of the Middle Kingdom in Ancient Egypt: A Discussion Relating to the Archaeological Materials<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u9152\u4e95\u3000\u8cb4\u5e83\u00a0\u00a0 Takahiro SAKAI<\/p>\n \u300c\u707d\u5bb3\u306e\u4e88\u611f\u300d\u306b\u95a2\u3059\u308b\u6587\u5316\u4eba\u985e\u5b66\u7684\u7814\u7a76\u8a66\u8ad6 \u2500\u2500\u5357\u6d77\u30c8\u30e9\u30d5\u5730\u9707\u306b\u5099\u3048\u308b\u9ad8\u77e5\u5e02\u6cbf\u5cb8\u90e8\u3092\u4e8b\u4f8b\u3068\u3057\u3066\u2500\u2500<\/a><\/p>\n A Tentative Cultural Anthropological Study on the \u201cPremonition of Disaster\u201d: From the Case of Coastal Area of Kochi City Prepared \u25a0\u00a0\u78ef\u8c9d\u3000\u8aa0 \u00a0 Makoto ISOGAI<\/p>\n \u5e73\u7b49\u9662\u9cf3\u51f0\u5802\u6249\u7d75\u3068\u73fe\u4e16\u5f80\u751f<\/a><\/p>\n The Picture on Doors of the Phoenix Hall of Byodo-in and Re-birth in this world<\/p>\n \u25a0 \u798f\u7530\u3000\u885b\u00a0 Mamoru FUKUDA<\/p>\n \u571f\u65b9\u5b9a\u4e00\u306e\u30d9\u30eb\u30ea\u30f3\u6ede\u5728<\/a><\/p>\n Teiichi Hijikata, his life in Berlin<\/p>\n \u25a0\u00a0\u4f0a\u85e4\u3000\u6f64\u4e00\u90ce \u00a0 Junichiro ITO<\/p>\n \u30ca\u30f3\u30b7\u30fc\u3068\u30c7\u30ea\u30c0\u306e\u51fa\u4f1a\u3044 \u2500\u2500\u30b8\u30e3\u30f3\uff1d\u30ea\u30e5\u30c3\u30af\u30fb\u30ca\u30f3\u30b7\u30fc\u300c\u6ce8\u91c8\u300d\u3078\u306e\u6ce8\u91c8\u2500\u2500<\/a><\/p>\n La rencontre de Jean-Luc Nancy et Jacques Derrida \u2500 Un commentaire de \u00ab Commentaire \u00bb de Jean-Luc Nancy<\/p>\n \u25a0\u00a0\u6734\u00a0 \u590f\u8fb0 \u00a0 Hajin PARK<\/p>\n \u30b5\u30df\u30e5\u30a8\u30eb\u30fb\u30d9\u30b1\u30c3\u30c8\u300e\u30a8\u30f3\u30c9\u30b2\u30fc\u30e0\u300f\u8ad6 \u2500\u2500\u6b21\u4e16\u4ee3\u3078\u306e\u8a9e\u308a\u306e\u7d99\u627f\u2500\u2500<\/a><\/p>\n Samuel Beckett\u2019s Endgame \u2500 The Inheritance of storytelling \u2500<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n <\/p>\n <\/p>\n \u65e9\u7a32\u7530\u5927\u5b66\u5927\u5b66\u9662 \u6587\u5b66\u7814\u7a76\u79d1\u7d00\u8981\u00a0\u7b2c63\u8f2f 2018\u5e743\u670815\u65e5\u767a\u884c\u3001ISSN2432-7344 \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":5447,"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-5477","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\/5477","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=5477"}],"version-history":[{"count":6,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/posts\/5477\/revisions"}],"predecessor-version":[{"id":5720,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/posts\/5477\/revisions\/5720"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/media\/5447"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/media?parent=5477"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/categories?post=5477"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/tags?post=5477"}],"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
\u5fc3\u7406\u5b66 Psychology<\/h4>\n
\u793e\u4f1a\u5b66 Sociology<\/h4>\n
\u6559\u80b2\u5b66 Education<\/h4>\n
\u00a0\u65e5\u672c\u8a9e\u65e5\u672c\u6587\u5b66 Japanese Studies<\/h4>\n
\nand his manuscripts of Chinese poems of his own \u2500<\/p>\n\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
\u7f8e\u8853\u53f2\u5b66 Art History<\/h4>\n
\u65e5\u672c\u53f2\u5b66 Japanese History<\/h4>\n
\u6771\u6d0b\u53f2\u5b66 Asian History<\/h4>\n
\u897f\u6d0b\u53f2\u5b66 Western History<\/h4>\n
\u8003\u53e4\u5b66 Archaeology<\/h4>\n
\u6587\u5316\u4eba\u985e\u5b66 Cultural Anthropology<\/h4>\n
\nfor the Nankai Trough Earthquake<\/p>\n\u30a2\u30b8\u30a2\u5730\u57df\u6587\u5316\u5b66 Enhancing Local Cultures in Asia<\/h4>\n
\u8868\u8c61\u30fb\u30e1\u30c7\u30a3\u30a2\u8ad6 Studies of Media, Body and Image<\/h4>\n
\n