\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>] <\/a><\/p>\n \u25a0 \u9e7f\u5cf6 \u5fb9\u3000Toru KASHIMA<\/p>\n \u694a\u674f\u5ead\u306e\u300c\u6b74\u53f2\u9031\u671f\u6cd5\u5247\u8ad6\u300d<\/a><\/p>\n On the Law of Historical Cycles of Yang Hsing-ting\uff08\u694a\u674f\u5ead\uff09<\/p>\n \u25a0 \u5c0f\u6751 \u512a\u592a\u3000Yuta KOMURA<\/p>\n \u795e\u3068Anniyyah\u2015\u30a4\u30d6\u30f3\u30fb\u30b7\u30fc\u30ca\u30fc\u306b\u304a\u3051\u308b\u5b58\u5728\u8005\u3068\u300c\u3082\u306e\u300d\u2015<\/a><\/p>\n God and Anniyyah\u2013 the Relationship between Thing and Being in Avicenna<\/p>\n \u25a0 \u7027\u672c \u6709\u9999\u3000Yuka TAKIMOTO<\/p>\n \u30d8\u30fc\u30b2\u30eb\u306b\u304a\u3051\u308b\u82b8\u8853\u306e\u904e\u53bb\u6027\u306b\u3064\u3044\u3066<\/a><\/p>\n \u00dcber die Vergangenheit der Kunst bei Hegel<\/p>\n \u25a0 \u5cef\u5c3e \u5e78\u4e4b\u4ecb\u3000Konosuke MINEO<\/p>\n \u81ea\u6211\u3068\u4e16\u754c\u306e\u5bfe\u7acb\u2015\uff2d\u30fb\u30ac\u30a4\u30ac\u30fc\u306e\u5b9f\u5728\u8ad6\u7684\u73fe\u8c61\u5b66\u2015<\/a><\/p>\n Der Gegensatz von Ich und Welt: Zur realistischen Ph\u00e4nomenologie M. Geigers<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6e21\u9089 \u7fa9\u6d69\u3000Yoshihiro WATANABE<\/p>\n \u300e\u9854\u6c0f\u5bb6\u8a13\u300f\u306b\u304a\u3051\u308b\u300c\u5bb6\u300d\u3068\u8cb4\u65cf\u50cf<\/a><\/p>\n Images of “jia” and Chinese aristocracy in\u00a0Yanshi jiaxun <\/em>\u9854\u6c0f\u5bb6\u8a13.<\/em><\/p>\n \u25a0 \u88b4\u7530 \u90c1\u4e00\u3000Yuichi HAKAMADA<\/p>\n \u88f4\u677e\u4e4b\u300e\u4e09\u56fd\u5fd7\u6ce8\u300f\u306e\u53f2\u6599\u6279\u5224\u3068\u5289\u5b8b\u8cb4\u65cf\u793e\u4f1a<\/a><\/p>\n Criticism of historical materials in Pei Songzhi\u2019s\uff08\u88f4\u677e\u4e4b\uff09”Sanguozhi zhu\uff08\u4e09\u56fd\u5fd7\u6ce8\uff09” and Aristocratic Society<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 Hiromitsu MIYATA<\/p>\n Short-term contemplative practices with vocalization alter psychological states in an unexperienced student sample<\/a><\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u5f35 \u9f8d\u9f8d\u3000Longlong ZHANG<\/p>\n 1980\u5e74\u4ee3\u4e2d\u671f\u307e\u3067\u306b\u9023\u308c\u3089\u308c\u3066\u304d\u305f\u4e2d\u56fd\u6b8b\u7559\u5b64\u5150\u7b2c\u4e8c\u4e16\u4ee3\u2015\u300c\u5b50\u3069\u3082\u305f\u3061\u300d\u306e\u521d\u671f\u5b9a\u7740\u306b\u6ce8\u76ee\u3057\u3066\u2015<\/a><\/p>\n The Early Adaptation of Japanese War Orphans\u2019 Children\u2015A Case Study of Children Migrants to Japan Before Mid-1980\u2019s<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6885\u672c \u6d0b\u3000Hiroshi UMEMOTO<\/p>\n \u5150\u7ae5\u8650\u5f85\u306e\u4e16\u4ee3\u9593\u9023\u9396\u3068\u907a\u4f1d-\u74b0\u5883\u76f8\u4e92\u4f5c\u7528<\/a><\/p>\n Intergenerational Transmission of Child Abuse and Gene-Environment Interaction<\/p>\n \u25a0 \u9060\u85e4 \u5065\u3000Takeshi ENDO<\/p>\n \u5927\u5b66\u9032\u5b66\u306b\u3068\u3082\u306a\u3046\u5730\u57df\u79fb\u52d5\u306b\u304a\u3051\u308b\u610f\u601d\u6c7a\u5b9a\u30e2\u30c7\u30eb\u306e\u691c\u8a3c\u2500\u84c4\u7a4d\u52b9\u679c\u306b\u95a2\u3059\u308b\u30de\u30eb\u30c1\u30ec\u30d9\u30eb\u5206\u6790\u3092\u4e2d\u5fc3\u306b\u2500<\/a><\/p>\n Verification of Decision Making Model in The Migration of High School Graduates to University in Japan \u25a0\u00a0\u7530 \u7a3c\u4e4b\u3000Jiazhi TIAN<\/p>\n \u5b66\u751f\u306e\u5c5e\u6027\u304b\u3089\u898b\u305f\u4e2d\u56fd\u5730\u65b9\u91cd\u70b9\u5927\u5b66\u306e\u6a5f\u80fd\u5206\u5316\u3068\u6559\u80b2\u6a5f\u4f1a\u306e\u968e\u5c64\u9593\u683c\u5dee\u2015S\u7701\u306eA\u5927\u5b66\u3092\u4f8b\u3068\u3057\u3066\u2015<\/a><\/p>\n Functional Differentiation and Hierarchical Educational Opportunities in Chinese Regional Priority University viewed from the attributes of students\u2015As an example of A University of S Province \u2015<\/p>\n \u25a0 \u4e2d\u5ddd \u53cb\u751f\u3000Tomoo NAKAGAWA<\/p>\n \u5b50\u3069\u3082\u306e\u300c\u5b89\u5168\u306a\u990a\u80b2\u3078\u306e\u6a29\u5229\u300d\u306e\u7406\u5ff5\u5f62\u6210\u3068\u8ab2\u984c<\/a><\/p>\n The idea formation and problem of \u201c The right to secure upbringing of children \u201d<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6c60\u6fa4 \u4e00\u90ce\u3000Ichiro IKEZAWA<\/p>\n \u66f8\u753b\u4f1a\u306e\u76db\u6cc1\u306b\u898b\u308b\u5927\u6b63\u671f\u6f22\u8a69\u4eba\u306e\u96c5\u4ea4\u2015\u559c\u591a\u6a58\u5712\u5b9b\u7530\u908a\u78a7\u5802\u66f8\u7c21\u5341\u516b\u901a\u7d39\u4ecb\u2015<\/a><\/p>\n Some comments about popular exhibitions of Chinese paintings and calligraphersof Chinese poems made by Tanabe Hekido \u2500 Introduction of eighteen letters by Tanbe Hekido \u2500<\/p>\n \u25a0 \u7530\u539f \u52a0\u5948\u5b50\u3000Kanako TABARU<\/p>\n \u4eac\u6975\u5fa1\u606f\u6240\u6b4c\u5408\u306e\u4f4d\u7f6e<\/a><\/p>\n The Position of Kyogoku Miyasudokoro Uta-awase<\/p>\n \u25a0 \u8352\u4e95 \u6d0b\u6a39\u3000Hiroki ARAI<\/p>\n \u85e4\u539f\u5b9a\u56fd\u56db\u5341\u8cc0\u5c4f\u98a8\u6537<\/a><\/p>\n A study of Fujiwara Sadakuni 40th birthday celebration folding screen<\/p>\n \u25a0 \u82a6\u5ddd \u8cb4\u4e4b\u3000Takayuki ASHIKAWA<\/p>\n \u904b\u52d5\u4f53\u3068\u3057\u3066\u306e\u66f8\u7269\u2015\u56fd\u6728\u7530\u72ec\u6b69\u300e\u904b\u547d\u300f\u3001\u53e3\u7d75\u3068\u305d\u306e\u5dee\u3057\u66ff\u3048\u3092\u3081\u3050\u3063\u3066\u2015<\/a><\/p>\n The book as a moving body\uff0d\u201dUnmei(Destinies)\u201d by Kunikida Doppo, about its frontispieces\u2019 changes\uff0d<\/p>\n \u25a0 \u7532\u6590 \u6e29\u5b50\u3000Atsuko KAI<\/p>\n \u6771\u6b4c\u306e\u6027\u683c\u306b\u95a2\u3059\u308b\u4e00\u8003\u5bdf\u2015\u5e8f\u6b4c\u306e\u5f62\u5f0f\u3092\u4e2d\u5fc3\u306b\u2015<\/a><\/p>\n A Study of Characteristics of Azumauta<\/em> Focusing on a Form of Jokotoba <\/em><\/p>\n \u25a0 \u5ddd\u6751 \u5353\u4e5f\u3000Takuya KAWAMURA<\/p>\n \u300c\u5e73\u5b89\u671d\u6f22\u8a69\u6587\u7814\u7a76\u306b\u304a\u3051\u308b\u4e8c\u6b21\u8cc7\u6599\u306e\u6d3b\u7528\u2015\u5927\u6c5f\u671d\u7db1\u306e\u52c5\u7b54\u3092\u4f8b\u306b\u3057\u3066\u2015<\/a><\/p>\n To make the best use of secondary source on a study of Heian<\/em> period\u2019s Chinese poetry and sentence\u2500 Hold the Imperial answer made by Oe no Asatsuna<\/em> up as an example \u2500<\/p>\n \u25a0 \u6728\u4e0b \u5f26\u00a0 Gen KINOSHITA<\/p>\n \u300e\u602a\u3057\u3044\u6765\u5ba2\u7c3f\u300f\u306e\u6210\u7acb\u904e\u7a0b\u2500\u2500\u8272\u5ddd\u6b66\u5927\u3092\u3081\u3050\u308b\u300c\u6700\u5f8c\u306e\u7121\u983c\u6d3e\u300d\u306e\u6e90\u6d41\u2500\u2500<\/a><\/p>\n Formation Process of \u201cAyashi-Raikyakubo\u201d: the Origin of the\u201cSaigo No Buraiha\u201d over Irokawa Takehiro<\/p>\n \u25a0 \u6e05\u6c34 \u667a\u53f2\u00a0 Satoshi SHIMIZU<\/p>\n \u633f\u7d75\u3068\u3044\u3046\u4f53\u9a13\u2500\u2500\u8c37\u5d0e\u6f64\u4e00\u90ce\u300c\u84fc\u55b0\u3075\u866b\u300d\u3068\u5c0f\u51fa\u6962\u91cd\u306e\u633f\u7d75\u306b\u3064\u3044\u3066\u2500\u2500<\/a><\/p>\n Illustrations as experience \u2500\u201dTade ku mushi\u201d by Tanizaki Jun\u2019ichiro and illustrations by Koide Narashige\u2500<\/p>\n \u25a0 \u30b8\u30e7\u30f3 \u30d3\u30e7\u30f3\u30df\u30f3\u00a0 Byeongmin JUNG<\/p>\n \u53cd\u4e8b\u5b9f\u30fb\u975e\u73fe\u5b9f\u3092\u8868\u3059\u526f\u8a5e\u2015\u300c\u3082\u3046\u5c11\u3057\u3067\u300d\u578b\u3068\u300c\u3042\u3084\u3046\u304f\u300d\u578b\u3092\u4e2d\u5fc3\u306b\u2015<\/a><\/p>\n Adverbs which express counterfactual and irrealis -Focusing on [mousukoside] form and [ayauku] form-<\/p>\n \u25a0 \u5c71\u7530 \u5b97\u53f2\u3000Soushi YAMADA<\/p>\n \u958b\u9ad8\u5065\u300e\u65e5\u672c\u4e09\u6587\u30aa\u30da\u30e9\u300f\u306e\u5c48\u6298\u2500\u2500\u81ea\u5df1\u6279\u5224\u306e\u69cb\u9020\u2500\u2500<\/a><\/p>\n Refraction and Reflection in Nihon Sanmon Opera<\/em> by Kaiko Takeshi<\/p>\n \u25a0 \u85e4\u5bcc \u53f2\u82b1\u00a0 Ayaka FUJITOMI<\/p>\n \u5bae\u6fa4\u96f2\u5c71\u306e\u8a69\u306b\u898b\u308b\u83ca\u6c60\u4e94\u5c71\u30fb\u67cf\u6728\u5982\u4ead\u304b\u3089\u306e\u5f71\u97ff<\/a><\/p>\n The influence of Kikuchi Gozan and Kashiwagi Jotei on Miyazawa Unzan\u2019s Chinese Character poetry<\/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 \u702c\u6238 \u76f4\u5f66\u3000Naohiko SETO<\/p>\n \u300c\u592a\u967d\u304c\u6065\u3058\u3089\u3046\u304b\u306e\u3088\u3046\u306b\u8d64\u304f\u6607\u308b\u3068\u300d\u2015\u4e2d\u4e16\u5357\u4ecf\u306e\u7269\u8a9e\u300e\u30d5\u30e9\u30e1\u30f3\u30ab\u300f\u3092\u3081\u3050\u3063\u3066\u2015<\/a><\/p>\n \u00ab quan le soleills Quais vergoinos \u00bb : m\u00e9taphore surprenante du Roman de Flamenca <\/em>(vv. 7688-7689)<\/p>\n \u25a0 Odile DUSSUD<\/p>\n \u00ab\u00a0\u00c9chapper \u00e0 l\u2019envieuse morsure du Temps\u00a0\u00bb — F\u00e9nelon, Fran\u00e7ois Perrier et Pline le Jeune —<\/a><\/p>\n \u25a0 \u68ee\u4e95 \u826f\u3000Ryo MORII<\/p>\n \u30a2\u30f3\u30c9\u30ec\u30fb\u30b8\u30c3\u30c9\u3068\u300c\u30db\u30e2\u30da\u30a2\u30ec\u30f3\u30c8\u6027\u300d<\/a><\/p>\n Andr\u00e9 Gide et l\u2019homoparentalit\u00e9<\/p>\n \u25a0 \u5f8c\u85e4 \u6e21\u3000Wataru GOTO<\/p>\n \u30b8\u30e7\u30eb\u30b8\u30e5\u30fb\u30da\u30ec\u30c3\u30af\u300e\u64ae\u5f71\u3055\u308c\u305f\u751f\u6d3b\u300f\u306b\u304a\u3051\u308b\u3001\u8a18\u61b6\u306e\u6295\u5f71\u3001\u6c88\u9ed9\u3001 \u300c\u6c38\u9060\u306e\u3082\u306e\u3068\u675f\u306e\u9593\u306e\u3082\u306e\u300d<\/a><\/p>\n Projection de la m\u00e9moire, silence, \u00ab l\u2019\u00e9ternel et l\u2019\u00e9ph\u00e9m\u00e8re \u00bb dans La Vie film\u00e9e<\/em> de Georges Perec<\/p>\n \u25a0 \u99ac\u8d8a \u6d0b\u5e73\u3000Yohei UMAKOSHI<\/p>\n \u300e\u30a2\u30ca\u30c8\u30fc\u30eb\u306e\u5893\u300f\u304b\u3089\u300e\u30a8\u30ed\u30c7\u30a3\u30a2\u30fc\u30c9\u306e\u5a5a\u793c\u300f\u3078\u2015\u30de\u30e9\u30eb\u30e1\u306e\u5275\u9020\u306e\u6e90\u3092\u63a2\u308b\u2015<\/a><\/p>\n Du Tombeau d\u2019Anatole aux Noces d\u2019H\u00e9rodiade<\/em>\u2015chercher la source de cr\u00e9ation de Mallarm\u00e9\u2015<\/p>\n \u25a0 Kanako IMASEKI<\/p>\n \u00ab Mais pas de m\u00e9morial pour qui d\u00e9savoue son parcours ! \u00bb \u2500Enfant pub\u00e8re dans Les M\u00e9g\u00e8res de la mer<\/em> de Louis-Ren\u00e9 des For\u00eats<\/a><\/p>\n \u25a0 \u4f50\u3005\u6728 \u5320 \u00a0 Takumi SASAKI<\/p>\n \u4e0d\u6761\u7406\u304b\u3089\u53cd\u6297\u3078\u3000\u2500\u2500\u30a2\u30eb\u30d9\u30fc\u30eb\u30fb\u30ab\u30df\u30e5\u4f5c\u54c1\u306b\u304a\u3051\u308b \u00ab nous \u00bb \u306e\u51fa\u73fe\u2500\u2500<\/a><\/p>\n De l\u2019absurde \u00e0 la r\u00e9volte\u2014 Apparition de \u00ab nous \u00bb dans l\u2019\u0153uvre d\u2019Albert Camus \u2014<\/p>\n \u25a0 \u702c\u5c3e \u5468\u5e73 \u00a0 Shuhei SEO<\/p>\n \u8eab\u4f53\u3068\u50b7\u2500\u2500\u30a2\u30f3\u30ea\u30fb\u30df\u30b7\u30e7\u30fc\u3068\u30e1\u30fc\u30c9\u30b6\u30f3\u2500\u2500<\/a><\/p>\n Corps et plaies\u2014Henri Michaux et Meidosems<\/p>\n \u25a0 \u9577\u6fa4 \u6cd5\u5e78 \u00a0 Noriyuki NAGASAWA<\/p>\n \u30b5\u30c3\u30d5\u30a9\u30fc\u3092\u8aad\u3080\u30eb\u30cd\u30fb\u30f4\u30a3\u30f4\u30a3\u30a2\u30f3\u2015\u300c\u30a2\u30d5\u30ed\u30c7\u30a3\u30c6\u3078\u306e\u30aa\u30fc\u30c9\u300d\u306e\u89e3\u91c8\u306b\u3064\u3044\u3066\u2015<\/a><\/p>\n Ren\u00e9e Vivien qui lit Sapho : l\u2019analyse de son Ode \u00e0 l\u2019Aphrodita<\/em><\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u7530\u4e2d \u6f64\u3000Jun TANAKA<\/p>\n \u4f5c\u308a\u4e0a\u3052\u3089\u308c\u305f\u300c\u30d6\u30eb\u30fc\u30ce\u30fb\u30bf\u30a6\u30c8\u300d<\/a><\/p>\n Bruno Taut \u2013 Rezeption in Japan \u2013 ein verstelltes Bild ?<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u516b\u6728 \u541b\u4eba\u3000Naoto YAGI<\/p>\n \u300c\u30d5\u30ec\u30fc\u30d6\u30cb\u30b3\u30d5\u306b\u3064\u3044\u3066\u300d\uff081928\uff09\u3092\u3081\u3050\u308b\u30b7\u30af\u30ed\u30d5\u30b9\u30ad\u30fc\u3068\u30c8\u30a3\u30cb\u30e3\u30fc\u30ce\u30d5<\/a><\/p>\n \u0421\u043f\u043e\u0440 \u0432\u043e\u043a\u0440\u0443\u0433 \u0441\u0442\u0430\u0442\u044c\u0438 \u00ab\u041e \u0425\u043b\u0435\u0431\u043d\u0438\u043a\u043e\u0432\u0435\u00bb \u043c\u0435\u0436\u0434\u0443 \u0428\u043a\u043b\u043e\u0432\u0441\u043a\u0438\u043c \u0438 \u0422\u044b\u043d\u044f\u043d\u043e\u0432\u044b\u043c.<\/p>\n \u25a0 \u4e09\u6d66 \u9818\u54c9\u3000Reiya MIURA<\/p>\n \u300e\u30ed\u30b7\u30a2\u306e\u591c\u300f\u306b\u304a\u3051\u308b\u0412. \u0424. \u30aa\u30c9\u30fc\u30a8\u30d5\u30b9\u30ad\u30fc\u306e\u97f3\u697d\u601d\u60f3\u2015\u81ea\u7136\u54f2\u5b66\u3068\u81ea\u7136\u79d1\u5b66\u3001\u65b0\u30d7\u30e9\u30c8\u30f3\u4e3b\u7fa9\u3068\u30c9\u30a4\u30c4\u89b3\u5ff5\u8ad6\u306e\u72ed\u9593\u3067\u2015<\/a><\/p>\n \u041c\u044b\u0441\u043b\u044c \u043e \u043c\u0443\u0437\u044b\u043a\u0435 \u041a\u043d\u044f\u0437\u044f \u0412. \u0424. \u041e\u0434\u043e\u0435\u0432\u0441\u043a\u043e\u0433\u043e \u0432 \u00ab\u0420\u0443\u0441\u0441\u043a\u0438\u0445 \u043d\u043e\u0447\u0430\u0445\u00bb \u25a0 \u83c5\u539f \u5f69\u3000Aya SUGAHARA<\/p>\n \u5c0f\u8aac\u306e\u6642\u4ee3\u306e\u7269\u8a9e\u8a69\uff1a\u30ec\u30fc\u30eb\u30e2\u30f3\u30c8\u30d5\u300e\u30e0\u30c4\u30a4\u30ea\u300f\u306b\u304a\u3051\u308b\u4e8c\u3064\u306e\u300c\u771f\u5b9f\u300d<\/a><\/p>\n \u041f\u043e\u044d\u043c\u0430 \u0432 \u044d\u043f\u043e\u0445\u0443 \u0440\u043e\u043c\u0430\u043d\u0430: \u0434\u0432\u0435 \u00ab\u043f\u0440\u0430\u0432\u0434\u044b\u00bb \u0432 \u00ab\u041c\u0446\u044b\u0440\u0438\u00bb \u041b\u0435\u0440\u043c\u043e\u043d\u0442\u043e\u0432\u0430<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0\u00a0\u5f35 \u5b87\u535a\u3000Yubo ZHANG<\/p>\n \u738b\u5bb6\u885b\u306e\u516d\u5341\u5e74\u4ee3\u4e09\u90e8\u4f5c\u306b\u898b\u308b\u9999\u6e2f\u30a2\u30a4\u30c7\u30f3\u30c6\u30a3\u30c6\u30a3<\/a><\/p>\n Hong Kong People\u2019s Ethnic Identity : Wong Kar-wai\u2019s 1960s Hong Kong Trilogy<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u5317\u539f \u307e\u308a\u5b50\u3000Mariko KITAHARA<\/p>\n \u300c\u5275\u4f5c\u8005\u300d\u30df\u30cf\u30a4\u30eb\u30fb\u30d5\u30a9\u30fc\u30ad\u30f3\u2500\u2500\u8457\u4f5c\u6a29\u3092\u6c42\u3081\u308b\u56fd\u969b\u7684\u632f\u4ed8\u5bb6\u306e\u8a66\u884c\u932f\u8aa4<\/a><\/p>\n Mikhail Fokine (1880-1942) in search of dance copyright:the first ballet creator in the age of globalization<\/p>\n \u25a0 \u8fd1\u85e4 \u3064\u3050\u307f\u3000Tsugumi KONDO<\/p>\n \u30d0\u30ec\u30a8\u306b\u304a\u3051\u308b\u81ea\u5df1\u8a00\u53ca\u6027\u2500\u2500\u30b8\u30e7\u30f3\u30fb\u30ce\u30a4\u30de\u30a4\u30e4\u30fc\u632f\u4ed8\u300e\u304f\u308b\u307f\u5272\u308a\u4eba\u5f62\u300f\u3068\u300e\u5e7b\u60f3\u30fb\u300c\u767d\u9ce5\u306e\u6e56\u300d\u306e\u3088\u3046\u306b\u300f\u3092\u3081\u3050\u3063\u3066\u2500\u2500<\/a><\/p>\n Self-Reference in Ballet: Focusing on \u201cThe Nutcracker\u201d and \u201cIllusions – like Swan Lake\u201d by John Neumeier<\/p>\n \u25a0 \u5742\u4e0a \u6842\u5b50\u3000Keiko SAKAGAMI<\/p>\n \u30de\u30af\u30b7\u30df\u30ea\u30a2\u30f3\u30fb\u30ea\u30e5\u30b9\u3068\u30d1\u30ea\u306e\u8868\u8c61<\/a><\/p>\n Maximilien Luce and Representaion of Paris<\/p>\n \u25a0 \u76ca\u7530 \u670b\u5e78\u3000Tomoyuki MASUDA<\/p>\n \u88c1\u304d\u306e\u5834\u3068\u3057\u3066\u306e\u8056\u5802\u2500\u2500\u30a2\u30c1\uff08\u30b8\u30e7\u30fc\u30b8\u30a2\uff09\u306e\u8056\u30b2\u30aa\u30eb\u30ae\u30aa\u30b9\u8056\u5802\u306e\u88c5\u98fe\u30d7\u30ed\u30b0\u30e9\u30e0\u2500\u2500<\/a><\/p>\n Church as a Place of the Last Judgement: Iconographic Program of the Church of St. George at Achi (Georgia)<\/p>\n \u25a0 \u9ec4 \u590f\u3000Xia HUANG<\/p>\n \u5510\u4ee3\u5df4\u8700\u5730\u57df\u306e\u963f\u5f25\u9640\u9020\u50cf\u306b\u304a\u3051\u308b\u4fd7\u4eba\u50cf\u306b\u3064\u3044\u3066<\/a><\/p>\n The Lay Figures in Amituo Statues Dequeathed to Bashu District in the Tang Dynasty<\/p>\n \u25a0 \u592a\u7530 \u82f1\u4f36\u5948\u3000Elena OTA<\/p>\n \u300c\u8cb4\u65cf\u8a69\u7bc7\u300d\u3068\u3044\u3046\u7528\u8a9e\u3092\u3081\u3050\u3063\u3066<\/a><\/p>\n Some Thoughts concerning the Term \u2018Aristocratic Psalter\u2019<\/p>\n \u25a0 \u690b\u6a4b \u5f69\u9999\u3000Ayaka KURAHASHI<\/p>\n \u73fe\u4ee3\u30bf\u30a4\u306b\u304a\u3051\u308b\u9913\u9b3c\u306e\u56f3\u50cf\u2015\u7570\u5f62\u5316\u3055\u308c\u308b\u9913\u9b3c\u306e\u30a4\u30e1\u30fc\u30b8\u2015<\/a><\/p>\n Iconography of hungry ghosts in modern Thailand\u2014Images of deformed hungry ghosts\u2014<\/p>\n \u25a0\u00a0\u6851\u539f \u771f\u7531\u7f8e\u3000Mayumi KUWABARA<\/p>\n \u30e2\u30c7\u30ca\u5927\u8056\u5802\u30d5\u30a1\u30b5\u30fc\u30c9\u5f6b\u523b\u306b\u304a\u3051\u308b\u53e4\u4ee3\u5927\u7406\u77f3\u306e\u518d\u5229\u7528\u306e\u610f\u5473\u306b\u3064\u3044\u3066<\/a><\/p>\n The significance of the reuse of ancient marbles in the facade reliefs of Modena Cathedral<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u4e45\u4fdd \u5065\u4e00\u90ce\u3000Kennichiro KUBO<\/p>\n \u300e\u677e\u9670\u79c1\u8a9e\u300f\u306b\u898b\u3048\u308b\u300c\u5927\u9014\u300d\u306b\u3064\u3044\u3066<\/a><\/p>\n The Usage of “Daito” in the Shoin Shigo<\/em>, the Shoin\u2019s Memoir Completed in 1509<\/p>\n \u25a0\u00a0\u8c37\u53e3 \u771e\u5b50\u3000Shinko TANIGUCHI<\/p>\n \u300c\u8ecd\u4eba\u52c5\u8aed\u300d\u518d\u8003\u2015\u897f\u5468\u300c\u52c5\u8aed\u7a3f\u300d\u3068\u306e\u6bd4\u8f03\u3092\u901a\u3058\u3066\u2015<\/a><\/p>\n A re-examination of \u201cGunjin Chokuyu\u201d compared with Nishi Amane\u2019s \u201cChokuyu Ko\u201d<\/p>\n \u25a0 \u771f\u8fba \u5c06\u4e4b\u3000Masayuki MANABE<\/p>\n \u6226\u5f8c\u53f0\u6e7e\u306e\u52d5\u7269\u6170\u970a\u7891\u2015\u65e5\u672c\u7d71\u6cbb\u6642\u4ee3\u304b\u3089\u306e\u9023\u7d9a\u3068\u65ad\u7d76\u2015<\/a><\/p>\n Cenotaphs Erected for the Repose of Animals’ Soul after World War II<\/p>\n \u25a0 \u8431\u7530 \u5bdb\u4e5f\u3000Hiroya KAYATA<\/p>\n \u4e00\u4e5d\u4e16\u7d00\u4e2d\u8449\u306e\u52a0\u8cc0\u85e9\u9818\u5185\u306b\u304a\u3051\u308b\u533b\u7642\u60c5\u5831\u306e\u6d41\u901a<\/a><\/p>\n Circulation of medical information in mid-19th-century Kaga domain<\/p>\n \u25a0 \u4f50\u3005\u6728 \u5343\u6075\u3000Chie SASAKI<\/p>\n \u5e55\u672b\u306b\u304a\u3051\u308b\u300c\u96d1\u8a8c\u300d\u8a95\u751f\u3068\u5553\u8499\u2500\u2500\u67f3\u6cb3\u6625\u4e09\u300e\u897f\u6d0b\u96d1\u8a8c\u300f\u3092\u4e2d\u5fc3\u306b\u2500\u2500<\/a><\/p>\n The Beginning of Magazines and the Enlightenment in the Last Days of the Tokugawa Shogunate \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 \u751a\u91ce \u5c1a\u5fd7\u3000Takashi JINNO<\/p>\n \u30a4\u30a8\u30ba\u30b9\u4f1a\u306e\u653f\u6cbb\u601d\u60f3\u3068\u66b4\u653f\u306e\u6279\u5224\u2015\u30d5\u30a2\u30f3\u30fb\u30c7\u30fb\u30de\u30ea\u30a2\u30ca\u306e\u66b4\u541b\u653e\u4f10\u8ad6\u3068\u305d\u306e\u4e2d\u4e16\u7684\u8d77\u6e90\u2015<\/a><\/p>\n Jesuit Political Thought and the Condemnation of Tyranny\u2015The Thesis of Tyrannicide of Juan de Mariana and its Medieval Origins\u2015<\/p>\n \u25a0\u00a0\u6e6f\u6d45 \u7fd4\u99ac\u3000Shoma YUASA<\/p>\n \u5e1d\u653f\u3068\u5171\u548c\u653f\u2500\u25001880\u5e74\u4ee3\u306e\u30d5\u30e9\u30f3\u30b9\u306b\u304a\u3051\u308b\u30b8\u30a7\u30ed\u30fc\u30e0\u6d3e\u306e\u601d\u60f3\u3068\u904b\u52d5\u2500\u2500<\/a><\/p>\n Empire et R\u00e9publique : Les id\u00e9es et le mouvement des j\u00e9r\u00f4mistes dans les ann\u00e9es 1880 en France<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u9ad8\u6a4b \u9f8d\u4e09\u90ce\u30fb\u7af9\u91ce\u5185 \u6075\u592a\u30fb\u4e95\u4e0a \u65e9\u5b63\u30fb\u4f50\u85e4 \u4eae\u592a\u30fb\u6bd4\u7559\u9593 \u7dbe\u9999\u30fb\u77f3\u4e95 \u53cb\u83dc<\/p>\n Ryuzaburo TAKAHASHI\u30fbKeita TAKENOUCHI\u30fbSaki INOUE\u30fbRyota SATO\u30fbAyaka HIRUMA\u30fbYuuna ISHII<\/p>\n \u7b2c\uff11\u30fb\uff12\u6b21\u52a0\u66fd\u5229\u8c9d\u585a\u30c7\u30b8\u30bf\u30eb\u4e09\u6b21\u5143\u6e2c\u91cf\u30fbGPR\u30ec\u30fc\u30c0\u30fc\u63a2\u67fb\u8abf\u67fb\u6982\u5831<\/a><\/p>\n Digital 3D Measurement Survey and GPR Research at Kosori Shell Midden: Report of the First and Second Research<\/p>\n \u25a0\u00a0\u9577\ufa11 \u6f64\u4e00\u30fb\u7af9\u91ce\u5185 \u6075\u592a\u30fb\u65e9\u7530 \u52c9\u30fb\u4e0b\u5ca1 \u9806\u76f4\u30fb\u6e21\u908a \u73b2\u30fb\u4f50\u85e4 \u4eae\u592a\u30fb\u6850\u539f \u5f18\u4e98\u30fb\u9688\u672c \u9053\u539a\u30fb\u9234\u6728 \u5b8f\u548c<\/p>\n Junichi NAGASAKI\u30fbKeita TAKENOUCHI\u30fbTsutomu SOUDA\u30fbYorinao SHITAOKA\u30fbRei WATANABE\u30fbRyota SATO\u30fbHironobu KIRIHARA\u30fbMichiatsu KUMAMOTO\u30fbHirokazu SUZUKI<\/p>\n \u8328\u57ce\u770c\u5e38\u9678\u5927\u5bae\u5e02\u5c71\u65b9\u907a\u8de1\u7b2c\uff12\u6b21\u8abf\u67fb\u6982\u5831<\/a><\/p>\n AN ADDITIONAL REPORT OF THE INVESTIGATION at the YAMAGATA SITE<\/p>\n \u25a0 \u77f3\u4e95 \u53cb\u83dc\u3000Yuuna ISHII<\/p>\n \u6750\u8cea\u3068\u88fd\u4f5c\u6280\u8853\u304b\u3089\u307f\u305f\u8155\u8f2a\u5f62\u77f3\u88fd\u54c1\u306e\u751f\u7523\u306b\u95a2\u3059\u308b\u4e00\u8003\u5bdf\u2015\u5927\u962a\u5e9c\u67cf\u539f\u5e02\u8336\u81fc\u585a\u53e4\u58b3\u306e\u5206\u6790\u4e8b\u4f8b\u304b\u3089\u2015<\/a><\/p>\n A study on production of bracelet shape stone products in terms of material and fabrication techniques\uff1aFrom the Analysis case of Osaka-hu Kashiwara-shi Chausuduka tomb<\/p>\n \u25a0 \u77f3\u5d0e \u91ce\u3005\u82b1\u3000Nonoka ISHIZAKI<\/p>\n \u7b2c\uff13\u4e2d\u9593\u671f\u306e\u30a8\u30b8\u30d7\u30c8\u3068\u30d5\u30a7\u30cb\u30ad\u30a2\u3068\u306e\u6728\u6750\u4ea4\u6613\u306b\u3064\u3044\u3066\u2015\u30ea\u30d3\u30a2\u738b\u671d\u6642\u4ee3\u306e\u6728\u68fa\u7814\u7a76\u3092\u4e2d\u5fc3\u306b\u2015<\/a><\/p>\n The Wood Trade between Egypt and Phoenicia in the Third Intermediate Period<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 Rie ODAJIMA<\/p>\n On Intangible and Tangible Heritage: Human Beings, Objects, Agency, and the Integration of Cultural Perception<\/a><\/p>\n \u25a0 Masao NISHIMURA<\/p>\n Heritage in Cebu City, the Philippines: A Study of \u201cCompetitive\u201d Heritage \u2013 A Preliminary Field Report \u2013<\/a><\/p>\n \u25a0 Emi MASUMI<\/p>\n Field Notes on the Filipino Values\u2015in a Women\u2019s Organization in an Income Generating Enterprise\u2015<\/a><\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u9577\u8c37 \u6b63\u4eba\u3000Masato HASE<\/p>\n \u8907\u88fd\u6280\u8853\u6642\u4ee3\u306b\u304a\u3051\u308b\u601d\u8003\u306e\u53ef\u80fd\u6027\u2500\u30d9\u30f3\u30e4\u30df\u30f3\u306e\u8907\u88fd\u82b8\u8853\u8ad6\u3092\u8aad\u307f\u76f4\u3059\u2500<\/a><\/p>\n The Work of Academics in the Age of its Technological Reproducibility: Reconsidering Benjamin\u2019s Art Work Essay<\/p>\n \u25a0\u00a0\u5de5\u85e4 \u9855\u592a\u3000Kenta KUDO<\/p>\n \u6b32\u671b\u3068\u4eab\u697d\u306e\u502b\u7406\u5b66\u2015\u30ab\u30f3\u30c8\u30fb\u30d5\u30ed\u30a4\u30c8\u30fb\u30e9\u30ab\u30f3\u2015<\/a><\/p>\n \u00c9thique du d\u00e9sir et de la jouissance : Kant, Freud, et Lacan<\/p>\n \u25a0 \u592a\u7530 \u7f8e\u5948\u5b50\u3000Minako OTA<\/p>\n \u300c\u901a\u4fe1\u300d\u3068\u300c\u653e\u9001\u300d\u304c\u4ea4\u932f\u3059\u308b\u521d\u671f\u30c6\u30ec\u30d3\u53d7\u5bb9\u2500\u2500 1950\u5e74\u4ee3\u9752\u68ee\u770c\u516b\u6238\u5e02\u306e\u4e8b\u4f8b\u304b\u3089 \u2500\u2500<\/a><\/p>\n Mixing \u201cCommunication\u201d and \u201cBroadcast\u201d:Early Television Reception in Hachinohe, Aomori Prefecture in the 1950\u2019s<\/p>\n \u25a0 \u91d1\u9577 \u9686\u5b50\u3000Takako KANENAGA<\/p>\n \u300e\u767d\u9ed2\u300f\u306b\u304a\u3051\u308b\u5c0f\u6ca2\u525b\u300a\u5730\u8535\u5efa\u7acb\u300b<\/a><\/p>\n Ozawa Tsuyoshi\u300aJIZOING\u300bin \u201cShirokuro\u201d.<\/p>\n \u25a0 \u6d45\u91ce \u4fee\u5e73\u3000Shuhei ASANO<\/p>\n \u5faa\u74b0\u3068\u5b9f\u8df5\u2212\u30c9\u30a5\u30eb\u30fc\u30ba\u306e\u30b9\u30d4\u30ce\u30b6\u89e3\u91c8\u3092\u3081\u3050\u308b\u4e00\u8a66\u8ad6\u2212<\/a><\/p>\n Cercle et pratique : un essai sur l\u2019interpr\u00e9tation deleuzienne de Spinoza<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n <\/p>\n \u65e9\u7a32\u7530\u5927\u5b66\u5927\u5b66\u9662 \u6587\u5b66\u7814\u7a76\u79d1\u7d00\u8981\u00a0\u7b2c64\u8f2f 2019\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":7180,"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-7011","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\/7011","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=7011"}],"version-history":[{"count":6,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/posts\/7011\/revisions"}],"predecessor-version":[{"id":7400,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/posts\/7011\/revisions\/7400"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/media\/7180"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/media?parent=7011"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/categories?post=7011"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/tags?post=7011"}],"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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\n– Focusing on Multilevel Analysis on Accumulation Effects<\/p>\n\u00a0\u65e5\u672c\u8a9e\u65e5\u672c\u6587\u5b66 Japanese Studies<\/h4>\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
\n\u2014 \u041c\u0435\u0436\u0434\u0443 \u043d\u0430\u0442\u0443\u0440\u0444\u0438\u043b\u043e\u0441\u043e\u0444\u0438\u0435\u0439 \u0438 \u0435\u0441\u0442\u0435\u0441\u0442\u0432\u043e\u0432\u0435\u0434\u0435\u043d\u0438\u0435\u043c, \u043d\u0435\u043e\u043f\u043b\u0430\u0442\u043e\u043d\u0438\u0437\u043c\u043e\u043c \u0438 \u043d\u0435\u043c\u0435\u0446\u043a\u0438\u043c \u0438\u0434\u0435\u0430\u043b\u0438\u0437\u043c\u043e\u043c<\/p>\n\u4e2d\u56fd\u8a9e\u4e2d\u56fd\u6587\u5b66 Chinese Studies<\/h4>\n
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\u65e5\u672c\u53f2\u5b66 Japanese History<\/h4>\n
\n\u2014 Shunsan Yanagawa\u2019s \u201cSeiyo Zasshi\u201d and other related magazines \u2014<\/p>\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
\u8868\u8c61\u30fb\u30e1\u30c7\u30a3\u30a2\u8ad6 Studies of Media, Body and Image<\/h4>\n
\n