\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]<\/a>\u00a0[\u56fd\u969b\u65e5\u672c\u5b66]<\/a><\/p>\n \u25a0 \u5fa1\u5b50\u67f4 \u5584\u4e4b\u3000Yoshiyuki MIKOSHIBA<\/p>\n \u30ab\u30f3\u30c8\u7fa9\u52d9\u8ad6\u3068\u9053\u5fb3\u7684\u81ea\u5df1\u8a8d\u8b58\u306e\u554f\u984c<\/a><\/p>\n Kants Deontologie und das Problem der moralischen Selbsterkenntnis<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6e21\u9089 \u7fa9\u6d69\u3000Yoshihiro WATANABE<\/p>\n \u300c \u53f2 \u300d \u306b\u304a\u3051\u308b \u300c \u8a18\u8a00\u306e\u9ad4 \u300d \u2500\u2500\u88f4\u677e\u4e4b \u300e \u4e09\u570b\u5fd7 \u300f \u6ce8\u306e\u61ca\u60a9\u2500\u2500<\/a><\/p>\n \u201c Record of remark \u201d in a history book: The confict of Pei Songzhi \uff08\u88f4\u677e\u4e4b\uff09 \u2019 s commentary on Sanguo zhi \uff08\u4e09\u56fd\u5fd7\uff09<\/p>\n \u25a0 \u65e5\u6bd4 \u5ba3\u4eba\u3000Nobuhito HIBI<\/p>\n \u7ae0\u5b89\u704c\u9802\u306b\u3088\u308b\u75c5\u884c\u306e\u89e3\u91c8\u3068\u305d\u306e\u554f\u984c\u70b9<\/a><\/p>\n An Critical Analysis of Zhan-an Guan-ding \u2019 s understanding of Bing-xing \u2019 s Concept<\/p>\n \u25a0 \u80e1 \u5efa\u660e \u3000Jianming HU<\/p>\n \u660e\u672b\u6e05\u521d\u5929\u7ae5\u5bc6\u96f2\u5713\u609f\u7985\u5e2b\u306e\u6cd5\u55e3\u9593\u306b\u304a\u3051\u308b\u8acd\u8ad6 \u2500\u2500\u7279\u306b \u300e \u8cbb\u96a0\u7985\u5e2b\u5225\u96c6 \u300f \u306b\u304a\u3051\u308b\u6728\u9673\u9053\u5fde\u306b\u5bfe\u3059\u308b\u8cbb\u96a0\u901a\u5bb9\u306e\u6279\u5224\u306b\u6ce8\u76ee\u3057\u3066\u2500\u2500<\/a><\/p>\n On the Debate between the Dharma Officers of Tiantong miyunyuanwu Zen Master in the Late Ming and Early Qing Dynasties<\/p>\n \u25a0\u00a0\u4f50\u4f2f \u61b2\u6d0b \u3000Norihiro SAEKI<\/p>\n \u9149\u8a89\u8056\u8061\u8ff0 \u300e \u7576\u9ebb\u66fc\u9640\u7f85\u758f \u300f \u306b\u304a\u3051\u308b\u6765\u8fce\u306e\u5f62\u614b\u306b\u3064\u3044\u3066<\/a><\/p>\n The style of the welcoming of an aspirant into the Pure Land in SHOSO \u2019 s \u201c TAIMA-MANNDARA-SHO \u201d<\/p>\n \u25a0\u00a0\u5d14 \u9d6c\u5049 \u3000Pengwei CUI<\/p>\n \u767e\u9b3c\u591c\u884c\u8aac\u8a71\u306b\u307f\u308b\u5c0a\u52dd\u9640\u7f85\u5c3c\u4fe1\u4ef0 \u2500\u2500 \u300e \u4eca\u6614\u7269\u8a9e\u96c6 \u300f \u5dfb\u5341\u56db\u7b2c\u56db\u5341\u4e8c\u8a71\u3068\u85e4\u539f\u6c0f\u306e\u4f1d\u627f\u2500\u2500<\/a><\/p>\n On the faith in Sonsho Dh\u0101ra\u1e47\u012b with hyakkiyagy\u014d: \u201c Konjaku Monogatarishu \uff08\u4eca\u6614\u7269\u8a9e\u96c6\uff09 \u201d 14-42 and legends of the Fujiwara clan<\/p>\n \u25a0\u00a0\u95a2 \u4fca\u53f2\u3000Toshifumi SEKI<\/p>\n \u300c \u6587\u5b57\u4e4b\u90e8 \u300d \u306e\u6574\u7406\u3068\u66f8\u306e\u8490\u96c6\u2500\u865e\u9fa2 \u300c \u8ad6\u66f8\u8868 \u300d<\/a><\/p>\n Arrange \u201c wen zi zhi bu \u201d and collection of calligraphy \u2014 Yu he \u201c lun shu biao \u201d<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u5927\u4e45\u4fdd \u5b5d\u6cbb\u3000Takaji OHKUBO<\/p>\n \u6e05\u6c34\u5e7e\u592a\u90ce\u306b\u304a\u3051\u308b\u6587\u4f53\u306e\u5909\u9077<\/a><\/p>\n Changes in the Style of Shimizu Ikutaro<\/p>\n \u25a0 \u5ca1\u672c \u667a\u5468\u3000Tomochika OKAMOTO<\/p>\n \u5171\u751f\u793e\u4f1a\u610f\u8b58\u3068\u6559\u80b2\u306b\u4fc2\u308b\u7acb\u5834\u6027\u306e\u5206\u6790 \u2500\u2500 \u300c \u81ea\u7531 \u300d \u3068 \u300c \u7ba1\u7406 \u300d \u3078\u306e \u5fd7\u5411\u6027\u306b\u7740\u76ee\u3057\u305f2018\u5e74\u8abf\u67fb\u30c7\u30fc\u30bf\u306e\u691c\u8a0e\u2500\u2500<\/a><\/p>\n Analysis of Social Awareness of Human Coexistence and Positionalities in Relation to Education: Examination of Survey Data from 2018 with a Focus on Intentionality to \u201c Liberty \u201d and \u201c Control \u201d<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6885\u672c \u6d0b\u3000Hiroshi UMEMOTO<\/p>\n \u907a\u4f1d \u2500 \u74b0\u5883\u76f8\u4e92\u4f5c\u7528\u3068\u74b0\u5883\u611f\u53d7\u6027<\/a><\/p>\n Gene-Environment Interaction and Environmental Sensitivity<\/p>\n \u25a0\u00a0\u7530 \u7a3c\u4e4b\u3000Jiazhi TIAN<\/p>\n \u5b66\u751f\u306e\u9032\u5b66\u52d5\u6a5f\u304b\u3089\u898b\u305f\u4e2d\u56fd\u5730\u65b9\u91cd\u70b9\u5927\u5b66\uff13\u6a5f\u95a2\u306e\u6a5f\u80fd\u5206\u5316 \u2500\u2500 S \u7701\u306e A \u5927\u5b66\u3092\u4f8b\u3068\u3057\u3066\u2500\u2500<\/a><\/p>\n Functional Differentiation of Chinese Regional Priority University \u2019 s Three Institutions from the Viewpoint of Students \u2019 Motivation \u2014 As an Example of A University of S Province \u2014<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u6c60\u6fa4 \u4e00\u90ce\u3000Ichiro IKEZAWA<\/p>\n \u65e5\u672c\u8fd1\u4e16\u306b\u304a\u3051\u308b\u6f22\u6587\u76f4\u8aad \uff08 \u4e2d\u56fd\u8a9e\u97f3\u8aad \uff09 \u306e\u632b\u6298 \u2500\u2500\u96e8\u68ee\u82b3\u6d32\u306e\u6842\u6d32\u5b9b\u3066\u66f8\u7c21\u3068 \u300c \u97f3\u8b80\u8981\u8a23\u6284 \u300d \u2500\u2500<\/a><\/p>\n A feeling some frustration of straight aural reading of Chinese books in the Premodern Japan, in the case of a letter by Amenomori Hoshu<\/p>\n \u25a0 \u5927\u5d8b \u3055\u3084\u304b\u3000Sayaka OHSHIMA<\/p>\n \u300e \u6708\u306b\u5420\u3048\u308b \u300f \u306e\u53e3\u8a9e\u8868\u73fe \u2500\u2500\u751f\u547d\u306e\u8a69\u8ad6\u306b\u304a\u3051\u308b\u30cb\u30fc\u30c1\u30a7\u306e\u5f71\u97ff\u2500\u2500<\/a><\/p>\n The colloquial expression of \u201c Tsuki-ni-hoeru<\/em> \u201d \u2014 The influence of Nietzsche on Sakutaro \u2019 s poetics of life<\/p>\n \u25a0 \u677e\u672c \u6d77 \u3000Kai MATSUMOTO<\/p>\n \u6751\u4e0a\u6625\u6a39 \u300c \u98a8\u306e\u6b4c\u3092\u8074\u3051 \u300d \u306b\u73fe\u308f\u308c\u308b \u3008 \u98df \u3009 \u2500\u2500\u8513\u5ef6\u3059\u308b \u300c \u30d3\u30fc\u30eb \u300d \u3068 \u3001 \u3082\u306e\u3055\u3057\u3068\u3057\u3066\u306e \u300c \u51b7\u8535\u5eab \u300d \u2500\u2500<\/a><\/p>\n \u2018 Foods \u2019 that appear in Murakami Haruki \u2019 s Hear the Wind Sing<\/em> \u2014 Prevalent \u201c Beer \u201d and \u201c Refrigerators \u201d as a measure \u2014<\/p>\n \u25a0 \u5442 \u598d\u3000Yan LYU<\/p>\n \u5426\u5b9a\u3092\u542b\u3080\u7a0b\u5ea6\u4fee\u98fe\u7bc0\u306e\u610f\u5473\u89e3\u91c8<\/a><\/p>\n A Semantic Interpretation of Negative Degree Modifier<\/p>\n \u25a0 \u7532\u6590 \u6e29\u5b50\u3000Atsuko KAI<\/p>\n \u6795\u8a5e\u306e\u793e\u4f1a\u5316\u304b\u3089\u307f\u308b \u300c \u6771\u6b4c \u300d<\/a><\/p>\n A Study of Characteristics of Azumauta<\/em> Focusing on a Socialized Makurakotoba<\/em>.<\/p>\n \u25a0 \u725b\u5c71 \u7766\u5b50\u3000Mutsuko USHIYAMA<\/p>\n \u300e\u56db\u6761\u5bae\u4e3b\u6bbf\u96c6 \u300f \u518d\u8003<\/a><\/p>\n Reconsideration of \u201c Shijonomiya Tonomo shu \u201d<\/p>\n \u25a0\u697d \u66f2\u3000Qu YUE<\/p>\n \u300c \u697d\u5712 \u300d \u306e\u69cb\u60f3 \u2500\u2500 \u300e \u61d0\u98a8\u85fb \u300f \u306b\u307f\u308b\u96a0\u9038\u89b3\u306e\u53d7\u5bb9\u2500\u2500<\/a><\/p>\n The Conception Of \u201c Utopia \u201d : The Acceptance Of The Notions Of Seclusion In Kaifuso<\/em><\/p>\n \u25a0\u5449 \u6176\u971e\u3000Qingxia WU<\/p>\n \u6bd4\u8f03\u9078\u629e\u7cfb\u306e\u3068\u308a\u305f\u3066\u526f\u8a5e\u306e\u610f\u5473\u7528\u6cd5 \u2500\u2500 \u300c \u3080\u3057\u308d \u300d \u3092\u4e2d\u5fc3\u306b\u2500\u2500 <\/a><\/p>\n A Study of the adverb \u201c mushiro \u201d used for expressing comparision and preference<\/p>\n \u25a0 \u99d2\u6728 \u7d50 \u3000Yui KOMAKI<\/p>\n \u30ca\u30aa\u30df\u306e\u60b2\u5287 \u2500\u2500 \u300c \u75f4\u4eba\u306e\u611b \u300d \u306b\u304a\u3051\u308b\u8b72\u6cbb\u306e\u7406\u60f3\u3068\u5927\u6b63\u671f\u306e\u5973\u6027\u6559\u80b2\u2500\u2500 <\/a><\/p>\n The Hidden tragedy of Naomi: J\u014dji \u2019 s \u201c Ideal Woman \u201d and the History of Women \u2019 s Education in Taish\u014d era<\/p>\n \u25a0\u00a0\u5c71\u672c \u6709\u9999 \u3000Yuka YAMAMOTO<\/p>\n \u5185\u7530\u767e\u9592 \u300c \u67f3\u691c\u6821\u306e\u5c0f\u9591 \u300d \u8ad6 \u2500\u2500\u95a2\u6771\u5927\u9707\u707d\u306e\u8a9e\u308a\u306b\u304a\u3051\u308b\u898b\u3048\u306a\u3044\u3053\u3068\u306e\u52b9\u7528\u2500\u2500<\/a><\/p>\n An analysis on Yanagi-Kengyo<\/em> \u2019 s rest by Uchida Hyakken: A Voice of the Visually Impaired Reflects on the Great Kanto Earthquake<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0\u00a0\u6c5f\u7530 \u5b5d\u81e3 \u3000Takaomi EDA<\/p>\n Paterson<\/em> \u3092\u53ef\u80fd\u306b\u3057\u3066\u3044\u308b\u6280\u6cd5\u2500\u2500 Book II, Section 1 \u8ad6 <\/a><\/p>\n How to Write an American Epic: An Essay on Paterson<\/em>, Book II, Section 1<\/p>\n \u25a0\u00a0\u5dd6\u8c37 \u85ab \u3000Kaoru IWAYA<\/p>\n Elizabeth Bishop \u306e\u8a69\u306b\u304a\u3051\u308b symbiosis<\/a><\/p>\n The Influence of Symbiosis in Elizabeth Bishop \u2019 s Poetry<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u9234\u6728 \u96c5\u96c4\u3000Masao SUZUKI<\/p>\n \u30ad\u30e3\u30e9\u30af\u30bf\u30fc\u304c\u3084\u3063\u3066\u6765\u308b \u2500\u2500\u30ed\u30c9\u30eb\u30d5 \u30fb \u30c6\u30d7\u30d5\u30a7\u30fc\u30eb\u8a66\u8ad6\u2500\u2500<\/a><\/p>\n Les personnages d\u00e9bordent le cadre \u2014 essai sur Rodolphe T\u00f6pffer \u2014<\/p>\n \u25a0 \u4f50\u3005\u6728 \u5320\u3000Takumi SASAKI<\/p>\n \u30a2\u30eb\u30d9\u30fc\u30eb \u30fb \u30ab\u30df\u30e5\u306b\u304a\u3051\u308b\u82b8\u8853\u306b\u3088\u308b\u9023\u5e2f<\/a><\/p>\n La Solidarit\u00e9 par l \u2019 art chez Albert Camus<\/p>\n \u25a0 Akane MIYAZAKI<\/p>\n Un romantisme \u00ab fr\u00e9n\u00e9tique \u00bb ? \u2014 Aloysius Bertrand et Charles Nodier \u2014<\/a><\/p>\n \u25a0 \u9577\u6fa4 \u6cd5\u5e78 \u00a0 Noriyuki NAGASAWA<\/p>\n \u30eb\u30cd \u30fb \u30f4\u30a3\u30f4\u30a3\u30a2\u30f3\u306e\u4f5c\u54c1\u306b\u304a\u3051\u308b\u690d\u7269\u306e\u8868\u8c61<\/a><\/p>\n Mundus botanicus<\/em> dans les \u0153uvres po\u00e9tiques de Ren\u00e9e Vivien<\/p>\n \u25a0\u00a0\u9ad9\u5b89 \u7406\u4fdd \u00a0 Riho TAKAYASU<\/p>\n \u30d5\u30a3\u30ea\u30c3\u30d7 \u30fb \u30ad\u30ce\u30fc \u300e \u30d9\u30ec\u30ed\u30d5\u30a9\u30f3 \u300f \u306b\u304a\u3051\u308b\u4eba\u7269\u9020\u5f62\u3068\u60b2\u5287\u6027<\/a><\/p>\n Tragique et cr\u00e9ation des personnages dans le Bell\u00e9rophon<\/em> de Philippe Quinault<\/p>\n \u25a0 Kei MORIWAKI<\/p>\n H\u00e9r\u00e9makhonon<\/em> et La Vie sc\u00e9l\u00e9rate<\/em> de Maryse Cond\u00e9 : de la d\u00e9construction du mythe identitaire \u00e0 l \u2019 \u00e9laboration g\u00e9n\u00e9alogique<\/a><\/p>\n \u25a0\u00a0\u5c71\u672c \u4f73\u751f \u00a0 Yoshio YAMAMOTO<\/p>\n \u9b42\u3092\u53cd\u6620\u3059\u308b \u300c \u93e1 \u300d \u2500\u2500\u30e2\u30f3\u30c6\u30fc\u30cb\u30e5 \u300e \u30a8\u30bb\u30fc \u300f \u306e\u8a00\u8a9e\u89b3\u2500\u2500<\/a><\/p>\n \u201c Speculum \u201d qui animum refert : De l \u2019 influence \u00e9rasmienne sur les Essais de Montaigne<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u5d8b\u7530 \u76f4\u5b50\u3000Naoko SHIMADA<\/p>\n 1938\u5e7411\u6708 \u300c \u5e1d\u56fd\u6c34\u6676\u306e\u591c \u300d \u3092\u3081\u3050\u308b\u5e1d\u56fd\u5831\u9053\u6307\u4ee4\u3068 \u30aa\u30fc\u30b9\u30c8\u30ea\u30a2\u65b0\u805e<\/a><\/p>\n NS-Presseanweisungen und \u00f6sterreichische Zeitungen \u00fcber \u201e Reichskristallnacht \u201c im November 1938<\/p>\n \u25a0 \u4e09\u6d66 \u6e05\u7f8e\u3000Kiyoharu MIURA<\/p>\n \u5e9c\u4e3b\u6559\u30d5\u30a3\u30ea\u30c3\u30d7\u4f1d \uff08 \u4e0a \uff09 \u2500\u7ffb\u8a33\u3068\u6ce8\u91c8<\/a><\/p>\n The Life of Metropolitan Philipp \uff08I\uff09 \u2014 Translation and Commentary<\/p>\n \u25a0 \u7530\u4e2d \u6c99\u5b63\u3000Saki TANAKA<\/p>\n A. B. \u30b3\u30ea\u30c4\u30a9\u30fc\u30d5\u306e\u524d\u671f\u4f5c\u54c1\u306e\u5909\u9077 \uff1a \u601d\u60f3\u3068\u7948\u308a<\/a><\/p>\n \u0420\u0430\u043d\u043d\u0438\u0435 \u0441\u0442\u0438\u0445\u043e\u0442\u0432\u043e\u0440\u0435\u043d\u0438\u044f \u0410 . \u0412 . \u041a\u043e\u043b\u044c\u0446\u043e\u0432\u0430 : \u0434\u0443\u043c\u0430 \u0438 \u043c\u043e\u043b\u0438\u0442\u0432\u0430<\/p>\n \u25a0 \u6cca\u91ce \u7adc \u4e00\u3000Ryoichi TOMARINO<\/p>\n \u30c9\u30b9\u30c8\u30a8\u30d5\u30b9\u30ad\u30fc\u306e \u300a \u5927\u5be9\u554f\u5b98 \u300b \u3068\u30a2\u30f3\u30c9\u30ec\u30fc\u30a8\u30d5\u306e \u300e \u6c88\u9ed9 \u300f \u306b\u304a\u3051\u308b \u5bfe\u8a71\u8868\u73fe\u306e\u6bd4\u8f03\u7814\u7a76<\/a><\/p>\n \u0421\u0440\u0430\u0432\u043d\u0438\u0442\u0435\u043b\u044c\u043d\u044b\u0435 \u0438\u0441\u0441\u043b\u0435\u0434\u043e\u0432\u0430\u043d\u0438\u044f \u00ab \u0412\u0435\u043b\u0438\u043a\u043e\u0433\u043e \u0438\u043d\u043a\u0432\u0438\u0437\u0438\u0442\u043e\u0440\u0430 \u00bb \u0424 . \u041c . \u0414\u043e\u0441\u0442\u043e\u0435\u0432\u0441\u043a\u0438\u043c \u0441 \u00ab \u041c\u043e\u043b\u0447\u0430\u043d\u0438\u0435\u043c \u00bb \u041b . \u041d . \u0410\u043d\u0434\u0440\u0435\u0435\u0432\u044b\u043c \u043e \u0432\u044b\u0440\u0430\u0436\u0435\u043d\u0438\u0438 \u0432 \u043b\u0438\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u043d\u043e\u043c \u0434\u0438\u0430\u043b\u043e\u0433\u0435 .<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u5185\u85e4 \u6b63\u5b50\u3000Masako NAITO<\/p>\n \u30c8\u30d4\u30c3\u30af\u30c1\u30a7\u30fc\u30f3\u306e\u539f\u7406<\/a><\/p>\n The Principles of Topic Chain in Chinese Discourse<\/p>\n \u25a0 \u67f4\u5d0e \u516c\u7f8e\u5b50\u3000Kumiko SHIBASAKI<\/p>\n \u300e \u7f85\u901a\u6383\u5317 \u300f \u306b\u898b\u308b\u82f1\u96c4\u7269\u8a9e\u306e \u300c \u5275\u4f5c \u300d<\/a><\/p>\n \u201c Creation \u201d of the heroic story seen in \u201c Luo Tong sao bei \u300e\u7f85\u901a\u6383\u5317\u300f \u201d<\/p>\n \u25a0 \u6bb5\u66f8 \u6681\u3000Shuxiao DUAN<\/p>\n \u65b0\u3057\u3044\u82f1\u96c4\u306e\u8a95\u751f \u2500\u2500\u79d1\u5b66\u5c0f\u8aac\u304b\u3089\u898b\u308b\u6e05\u672b\u4e2d\u56fd\u306b\u304a\u3051\u308b\u60f3\u50cf\u529b\u306e\u5909\u5bb9\u2500\u2500<\/a><\/p>\n The Birth of the Modern Hero \u2014 Chinese Science Fiction and the Transformed Imagination in Late Qing Dynasty<\/p>\n \u25a0 \u30ea\u30e5\u30a6 \u30c1\u30a7\u30f3\u3000Qian LIU<\/p>\n \u4e2d\u56fd\u306b\u304a\u3051\u308b\u30ad\u30e3\u30e9\u30af\u30bf\u30fc\u5275\u9020\u306e\u5b9f\u8df5\u306e\u63a2\u6c42 \u2500\u2500 \u201c \u4f01\u5212 \u201d \u30ad\u30e3\u30e9\u30af\u30bf\u30fc\u4f5c\u6210\u3092\u4f8b\u306b\u2500\u2500<\/a><\/p>\n the Exploration of Character Creation Practices in China \u2014 Taking Example for Character Making in \u2018 Qihua \u2019<\/p>\n \u25a0 \u90ed \u6e08\u98db\u3000Jifei GUO<\/p>\n \u73fe\u5b9f\u3068\u5e7b\u60f3\u306e\u72ed\u9593\u306b\u751f\u304d\u308b\u4eba\u9593 \u2500\u2500\u30a4\u30fc\u30e6\u30f3 \u30fb \u30ea\u30fc\u3068\u30a6\u30a3\u30ea\u30a2\u30e0 \u30fb \u30c8\u30ec\u30f4\u30a1\u30fc\u306b\u3064\u3044\u3066\u2500\u2500<\/a><\/p>\n Illusion as a Way of Living: A Comparative Study of the \u2018 Reality-Illusion \u2019 Structure in Yiyun Li and William Trevor \u2019 s Four Novellas<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u5317\u539f \u307e\u308a\u5b50\u3000Mariko KITAHARA<\/p>\n \u632f\u4ed8\u5bb6\u3068\u4f1d\u8a18\u4f5c\u5bb6 \u3001 \u305d\u3057\u3066\u81ea\u4f1d \u2500\u2500\u30d5\u30a9\u30fc\u30ad\u30f3\uff1d\u30dc\u30fc\u30e2\u30f3\u30c8\u66f8\u7c21\u53ca\u3073 \u30d5\u30a9\u30fc\u30ad\u30f3\uff1d\u30bb\u30a4\u30e9\u30fc\u66f8\u7c21\u3092\u5de1\u3063\u3066\u2500\u2500<\/a><\/p>\n Why does a choreographer write his autobiography?: Investigating the Fokine-Beaumont and the Fokine-Sayler correspondence.<\/p>\n \u25a0 \u5927\u6797 \u8cb4\u5b50\u3000Takako OBAYASHI<\/p>\n 19\u4e16\u7d00\u30b5\u30f3\u30af\u30c8\u30da\u30c6\u30eb\u30d6\u30eb\u30af\u5e1d\u5ba4\u5287\u5834\u306e\u30d0\u30ec\u30a8\u30ec\u30d1\u30fc\u30c8\u30ea\u30fc\u306b\u304a\u3051\u308b \u30c7\u30a3\u30f4\u30a7\u30eb\u30c6\u30a3\u30b9\u30de\u30f3\u306e\u5909\u5bb9<\/a><\/p>\n Divertissement as an independent performance in the 19th century Russian Ballet.<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u76ca\u7530 \u670b\u5e78\u3000Tomoyuki MASUDA<\/p>\n \u708e\u306e\u6d17\u793c \u2500\u2500\u30aa\u30d5\u30ea\u30c9\u306e\u30d1\u30ca\u30ae\u30a2 \u30fb \u30da\u30ea\u30d6\u30ec\u30d7\u30c8\u30b9\u8056\u5802\u58c1\u753b\u7814\u7a76\u2500\u2500<\/a><\/p>\n Baptism with Fire: Study of the Decoration Program of the Church of Panagia Peribleptos in Ohrid<\/p>\n \u25a0 \u5c71\u672c \u8061\u7f8e\u3000Satomi YAMAMOTO<\/p>\n \u30d5\u30ea\u30fc\u30a2\u7f8e\u8853\u9928\u6240\u8535 \u300c \u5730\u8535\u83e9\u85a9\u970a\u9a13\u8a18 \u300d \u7b2c\u4e00\u8a71\u306e\u4e3b\u984c \u2500\u2500\u5973\u6027\u306e\u7f6a\u696d\u3068\u3057\u3066\u306e\u5ac9\u59ac\u3068\u8acd\u3044\u2500\u2500<\/a><\/p>\n The subject of the first scene of The Miraculous Interventions of Jizo Bosatsu of the Freer Gallery of Art: Jealousy and Quarreling as sins of women<\/p>\n \u25a0 \u5b6b \u611b\u742a\u3000Aiqi SUN<\/p>\n \u660e\u4e07\u66a6\u5289\u5fdc\u8972\u520a\u672c \u300e \u897f\u5ec2\u8a18 \u300f \u306b\u3064\u3044\u3066<\/a><\/p>\n Some Thoughts concerning the Term \u2018Aristocratic Psalter\u2019<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u8c37\u53e3 \u771e\u5b50\u3000Shinko TANIGUCHI<\/p>\n \u601d\u60f3\u53f2\u3068\u8ecd\u4e8b\u53f2\u306e\u67b6\u6a4b \u2500\u2500\u897f\u5468 \u300c \u5175\u5bb6\u5fb3\u884c \u300d \u3092\u3081\u3050\u3063\u3066\u2500\u2500<\/a><\/p>\n A Bridge between the Intellectual History and the Military History on Nishi Amane \u2019 s Heika Tokk\u014d<\/em><\/p>\n \u25a0 \u5c71\u53e3 \u5544\u5b9f\u3000Takumi YAMAGUCHI<\/p>\n \u65e5\u672c\u4e2d\u4e16\u306e\u7f85\u6f22\u4fe1\u4ef0 \u2500\u2500\u305d\u306e\u53d7\u5bb9\u3068\u4f1d\u64ad\u2500\u2500<\/a><\/p>\n The faith of arhat in medieval Japan: that \u2019 s acceptance and propagation<\/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 \u7cf8 \u9686\u592a\u3000Ryuta ITO<\/p>\n \u5e1d\u653f\u671f\u30a4\u30bf\u30ea\u30a2\u306b\u304a\u3051\u308b\u5bb6\u755c\u751f\u7523\u3068\u30ed\u30fc\u30de\u5e02\u3078\u306e\u4f9b\u7d66<\/a><\/p>\n The Livestock Production in the Italian Peninsula during the Roman Empire and its Supply to the City of Rome<\/p>\n \u25a0 \u767d\u5ddd \u592a\u90ce\u3000Taro SHIRAKAWA<\/p>\n \u30a4\u30bf\u30ea\u30a2\u4e2d\u4e16\u5b97\u6559\u53f2\u7814\u7a76\u306e\u57fa\u672c\u7684\u67a0\u7d44 \uff1a \u5b97\u6559\u904b\u52d5\u8ad6\u306e\u6210\u679c\u3068\u8ab2\u984c<\/a><\/p>\n Il carattere generale della storiografia religiosa italiana: sul paradigma dei movimenti religiosi<\/em>.<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0\u6749\ufa11 \u8302\u6a39\u3000Shigeki SUGISAKI<\/p>\n \u57fc\u7389\u770c\u7f8e\u91cc\u753a\u585a\u672c\u5c71\u53e4\u58b3\u7fa4\u306e\u6d88\u9577\u3068\u305d\u306e\u80cc\u666f<\/a><\/p>\n The Length of the Tsukamotoyama Kofun Group, Misato-machi, Saitama Prefecture and its Background<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 \u897f\u6751 \u6b63\u96c4\u00a0 Masao NISHIMURA<\/p>\n \u30a2\u30bb\u30a2\u30f3\u306e\u89b3\u5149\u653f\u7b56\u3068\u30e9\u30aa\u30b9\u5357\u90e8\u306b\u304a\u3051\u308b\u89b3\u5149\u306e\u72b6\u6cc1<\/a><\/p>\n ASEAN Tourism Policy and Tourism Development in the Southern Part of the Lao PDR<\/p>\n \u25a0 Akiko KUNIHIRO<\/p>\n After Forgiveness: Making Kin-like-Relationships with Hijras of Gujarat in India<\/a><\/p>\n \u25a0 \u5c0f\u7530\u5cf6 \u7406\u7d75\u00a0 Rie ODAJIMA<\/p>\n \u30e9\u30aa\u30b9\u306e\u8fb2\u696d\u30a8\u30b3\u30ce\u30df\u30fc\u306b\u95a2\u3059\u308b\u7814\u7a76 \u2500\u2500\u7d4c\u6e08\u958b\u767a\u3068\u907a\u7523\u4fdd\u8b77\u306e\u72ed\u9593\u306b\u751f\u304d\u308b\u793e\u4f1a\u2500\u2500<\/a><\/p>\n A Study of the Lao Agrarian Economy: A Society Living in-between Economic Development and Heritage Conservation<\/p>\n \u25a0 \u6d77\u8001\u6fa4 \u572d\u3000Kei EBISAWA<\/p>\n \u30e9\u30aa\u30b9\u4eba\u6c11\u6c11\u4e3b\u5171\u548c\u56fd\u90fd\u5e02\u90e8\u306b\u304a\u3051\u308b\u98df\u6587\u5316\u306b\u95a2\u3059\u308b\u8003\u5bdf \u2500\u2500 \u300c \u7dcf\u5408\u7684\u306a\u98f2\u307f\u5c4b \u300d \u306b\u304a\u3051\u308b\u98df\u4e8b\u306e\u4e8b\u4f8b\u2500\u2500<\/a><\/p>\n Discussion on food culture in Lao P.D.R: a Case Study of foods in \u201c comprehensive gastropub \u201d<\/p>\n \u25a1 \u512a\u79c0\u4fee\u58eb\u8ad6\u6587\u6982\u8981<\/a><\/p>\n \u25a0 Futoshi SAKAUCHI<\/p>\n Conjuring Complexities: a study on Enda Walsh \u2019 s Misterman and bedbound<\/em><\/a><\/p>\n \u25a0 \u6751\u5c71 \u96c4\u7d00\u3000Yuki MURAYAMA<\/p>\n \u3008 \u30a4\u30e1\u30fc\u30b8 \u3009 \u306e \u300c \u5316\u7ca7\uff1d\u865a\u98fe \u300d \u2500\u2500\u30ed \u30b8\u30a7 \u30fb \u30c9 \u30fb \u30d4\u30fc\u30eb\u306e\u7d75\u753b\u8ad6\u3092\u3081\u3050\u3063\u3066\u2500\u2500<\/a><\/p>\n Farder les images: Roger de Piles et sa th\u00e9orie sur la peinture.<\/p>\n \u25a0 \u7247\u5ca1 \u4e00\u7af9\u3000Ichitake KATAOKA<\/p>\n \u521d\u671f\u30d5\u30ed\u30a4\u30c8\u306e\u6027\u7406\u8ad6 \uff08 1893-1900\u5e74 \uff09<\/a><\/p>\n Die Sexualtheorie beim fr\u00fchen Freud (1893-1900)<\/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 Kristopher REEVES<\/p>\n THERE AND BACK AGAIN : Abductions into Purgatory in Premodern Japan and China<\/a><\/p>\n <\/p>\n \u65e9\u7a32\u7530\u5927\u5b66\u5927\u5b66\u9662 \u6587\u5b66\u7814\u7a76\u79d1\u7d00\u8981\u00a0\u7b2c65\u8f2f 2020\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":8869,"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-8712","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\/8712","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=8712"}],"version-history":[{"count":6,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/posts\/8712\/revisions"}],"predecessor-version":[{"id":8995,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/posts\/8712\/revisions\/8995"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/media\/8869"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/media?parent=8712"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/categories?post=8712"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/glas\/wp-json\/wp\/v2\/tags?post=8712"}],"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
\u793e\u4f1a\u5b66 Sociology<\/h4>\n
\u6559\u80b2\u5b66 Education<\/h4>\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
\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
\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
\u56fd\u969b\u65e5\u672c\u5b66 Global Japanese Literary and Cultural Studies<\/h4>\n
\n