{"id":1926,"date":"2016-10-14T16:29:12","date_gmt":"2016-10-14T07:29:12","guid":{"rendered":"https:\/\/www.waseda.jp\/flas\/rilas\/?p=1926"},"modified":"2017-08-07T18:07:04","modified_gmt":"2017-08-07T09:07:04","slug":"%e7%b7%8f%e5%90%88%e4%ba%ba%e6%96%87%e7%a7%91%e5%ad%a6%e7%a0%94%e7%a9%b6%e3%82%bb%e3%83%b3%e3%82%bf%e3%83%bc%e7%a0%94%e7%a9%b6%e8%aa%8c%e3%80%8cwaseda-rilas-journal-no-4%e3%80%8d%ef%bc%882016%e5%b9%b4","status":"publish","type":"post","link":"https:\/\/www.waseda.jp\/flas\/rilas\/news\/2016\/10\/14\/1926\/","title":{"rendered":"\u7dcf\u5408\u4eba\u6587\u79d1\u5b66\u7814\u7a76\u30bb\u30f3\u30bf\u30fc\u7814\u7a76\u8a8c\u300cWASEDA RILAS JOURNAL No.4\u300d\uff082016\u5e7410\u6708\uff09"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-1928\" src=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/03d5459699f56cdecca42e77c48d0cce-610x863.jpg\" alt=\"RILAS04_\u8868\u7d19\" width=\"213\" height=\"302\" \/><br \/>\n\u5e741\u56de\u767a\u884c\u3000ISSN\uff1a2187-8307<\/p>\n<h3>\u8868\u7d19 Cover<\/h3>\n<ul>\n<li><a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_Cover.pdf\">\u8868\u7d19<\/a><\/li>\n<li><a href=\"https:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/11\/Rilas04_000_Contents.pdf\" target=\"_blank\">\u76ee\u6b21<\/a><\/li>\n<\/ul>\n<h3>\u8ad6\u6587\uff08\u7279\u5225\u5bc4\u7a3f\uff09\u00a0Article (Special Contribution)<\/h3>\n<ul>\n<li>\u30ea\u30c1\u30e3\u30fc\u30c9\u30fb\u30da\u30fc\u30cb\u30e3<br \/>\nRichard PE\u00d1A<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_001-006_Richard-PENA.pdf\">Waves on Different Shores: Comparing the New Cinemas of France, Japan and Brazil<\/a><\/li>\n<\/ul>\n<h3>\u8ad6\u6587\uff08\u4e00\u822c\u6295\u7a3f\uff09Articles<\/h3>\n<ul>\n<li>\u5b89\u85e4\u6587\u4eba<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_440-452_Fumihito-ANDO.pdf\">\u6f31\u77f3\u306e\u8aad\u3093\u3060\u300c\u901a\u4fd7\u306a\u3042\u308b\u5916\u56fd\u96d1\u8a8c\u300d\u2500\u2500\u6750\u6e90\u3068\u3057\u3066\u306e<em>Windsor Magazine<\/em>\u2500\u2500<\/a><br \/>\nFumihito ANDO<br \/>\nNatsume S\u014dseki and the <em>Windsor Magazine<\/em> as a source for his writings<\/li>\n<li>\u6885\u7530\u5f84<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_417-438_Kei-UMEDA.pdf\">\u5bae\u5185\u5e81\u66f8\u9675\u90e8\u8535\u300e\u985e\u6a19\u300f\u3092\u3081\u3050\u3063\u3066\u2500\u2500\u8fd1\u4e16\u5f8c\u671f\u306b\u304a\u3051\u308b\u7d22\u5f15\u306e\u767b\u5834\u3068\u305d\u306e\u601d\u60f3\u2500\u2500<\/a><br \/>\nKei UMEDA<br \/>\nA Study of the <em>Ruihyo<\/em> Compendium in the Imperial Household archives:\u00a0The appearance of indexes in the late early modern period and it intellcial background<\/li>\n<li>\u8fd1\u85e4\u4e8c\u90ce<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_007-015_Jiro-KONDO.pdf\">\u30d6\u30ea\u30e5\u30c3\u30bb\u30eb\u3001\u738b\u7acb\u7f8e\u8853\u6b74\u53f2\u535a\u7269\u9928\u6240\u8535\u306e\u738b\u5983\u30c6\u30a3\u30a4\u306e\u30ec\u30ea\u30fc\u30d5\uff08E.2157\uff09<\/a><br \/>\nJiro KONDO<br \/>\nThe Relief Fragment of Queen Tiye at the Royal Museums of Art and History, Brussels (E 2157)<\/li>\n<li>\u5742\u672c\u9f8d\u592a<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_017-027_Ryuta-SAKAMOTO.pdf\">17\u4e16\u7d00\u30b9\u30da\u30a4\u30f3\u306e\u4fee\u9053\u9662\u306b\u304a\u3051\u308b\u8056\u5177\u5ba4\u88c5\u98fe\u2500\u2500\u30b9\u30eb\u30d0\u30e9\u30f3\u306e\u7d75\u753b\u9023\u4f5c\u3092\u3066\u304c\u304b\u308a\u306b\u2500\u2500<\/a><br \/>\nRyuta SAKAMOTO<br \/>\nOrnamentation of the Monastic Sacristy in Spain during the Seventeenth Century:\u00a0Through the Examination of Series of Zurbar\u00e1n\u2019s Paintings<\/li>\n<li>\u8096\u6d6a<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_029-042_Lang-XIAO.pdf\">\u5bae\u5ef7\u8da3\u5473\u5c0d\u6c11\u9593\u5f71\u97ff\u8207\u6d41\u8b8a\u2500\u2500\u7531\u5317\u5b8b\u5893\u5ba4\u58c1\u756b\u5973\u5b50\u5718\u51a0\u5716\u50cf\u63a2\u8003\u4e00\u7aba<\/a><br \/>\nLang XIAO<br \/>\n<span style=\"line-height: 1.5em;\">The Effects of Palace Tastes and Evolution to Folk:\u00a0Researching the Tuan Guan Mural Images in\u00a0Northern Song Dynasty Tombs<br \/>\n<\/span><\/li>\n<li><span style=\"line-height: 1.5em;\">\u5e84\u53f8\u654f\u5b50<br \/>\n<\/span><a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_407-416_Toshiko-SHOJI.pdf\">\u300e\u873b\u86c9\u65e5\u8a18\u300f\u4e0b\u5dfb\u306e\u300c\u5973\u7d75\u300d\u2500\u2500\u300c\u990a\u5973\u6c42\u5a5a\u8a18\u4e8b\u300d\u306b\u898b\u3048\u308b\u9023\u95a2\u6027\u3092\u4e2d\u5fc3\u306b\u2500\u2500<\/a><br \/>\n<span style=\"line-height: 1.5em;\">Toshiko SHOJI<br \/>\n<\/span><span style=\"line-height: 1.5em;\">\u201cOnna-e\u201d in the Third Volume of <em>Kager\u014d no nikki<\/em>:\u00a0Significance of the \u201cAdopted Daughter\u2019s Courtship\u201d Entry<br \/>\n<\/span><\/li>\n<li><span style=\"line-height: 1.5em;\">\u57ce\u5009\u6b63\u7965\u30fb\u5c71\u85e4\u6b63\u654f\u30fb\u30ca\u30ef\u30d3\u77e2\u9ebb\u30fb\u5c71\u5185\u548c\u4e5f\u30fb\u30d0\u30ad\u30c3\u30c8\u3000\u30a2\u30de\u30f3\u30d0\u30a8\u30f4\u30a1<br \/>\n<\/span><a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_043-071_Masayoshi-JOKURA-et-al.pdf\">\u30ad\u30eb\u30ae\u30b9\u5171\u548c\u56fd\u30a2\u30af\u30fb\u30d9\u30b7\u30e0\u907a\u8de1\u306e\u767a\u6398\uff082015\u5e74\u79cb\u671f\uff09\u8abf\u67fb<\/a><br \/>\nMasayoshi JOKURA, Masatoshi YAMAFUJI, Yama NAWABI, Kazuya YAMAUCHI, Bakyt AMANBAEVA<br \/>\nExcavation at Ak-Beshim Site: A Preliminary Report of the 2015 Autumn Season<\/li>\n<li>\u8c37\u53e3\u771e\u5b50<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_394-406_Shinko-TANIGUCHI.pdf\">\u8fd1\u4e16\u4e2d\u671f\u306e\u65e5\u672c\u306b\u304a\u3051\u308b\u5fe0\u7fa9\u306e\u89b3\u5ff5\u306b\u3064\u3044\u3066\u2500\u2500\u5c71\u5d0e\u95c7\u658e\u5b66\u6d3e\u3092\u4e2d\u5fc3\u306b\u2500\u2500<\/a><br \/>\nShinko TANIGUCHI<br \/>\n<span style=\"line-height: 1.5em;\">The Concept of Loyalty in the Mid-Early-Modern Times in Japan: The Yamazaki Ansai School<\/span><\/li>\n<li><span style=\"line-height: 1.5em;\">\u5f35\u52dd\u862d<br \/>\n<\/span><a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_073-083_Shenglan-ZHANG.pdf\">\u6e05\u671d\u306e\u5bfe\u300c\u82d7\u300d\u653f\u7b56\u3068\u300c\u82d7\u300d\u4f1d\u7d71\u793e\u4f1a\u306e\u30ea\u30fc\u30c0\u30fc\u306b\u3064\u3044\u3066<\/a><br \/>\nShenglan ZHANG<br \/>\nThe Qing Dynasty\u2019s Policy for \u201cThe Miao\u201d and Their Traditional Social Leader<\/li>\n<li>\u9673\u7afa\u6167<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_381-392_ChuHui-CHEN.pdf\">\u91ce\u6751\u7bc1\u5712\u3092\u4e2d\u5fc3\u3068\u3057\u305f\u586b\u8a5e\u6d3b\u52d5\u306b\u3064\u3044\u3066\u2500\u2500\u5929\u4fdd\u671f\u306e\u8a5e\u4eba\u305f\u3061\u2500\u2500<\/a><br \/>\nChuHui CHEN<br \/>\nAbout the activities of making Ci \u8a5e around Nomura Koen \u91ce\u6751\u7bc1\u5712<br \/>\n\u0336\u0336 Poets in the Tempo Era \u0336\u0336<\/li>\n<li>\u8fbb\u7d75\u7406\u5b50<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_085-097_Eriko-TSUJI.pdf\">\u30a2\u30ae\u30aa\u30b9\u30fb\u30cb\u30b3\u30e9\u30aa\u30b9\u30fb\u30aa\u30eb\u30d5\u30a1\u30ce\u30b9\u8056\u5802\uff08\u30c6\u30b5\u30ed\u30cb\u30ad\uff09\u306e\u732e\u5802\u8005\u540c\u5b9a\u306e\u8a66\u307f<\/a><br \/>\nEriko TSUJI<br \/>\nIdentification of the Patron of Agios Nikolaos Orphanos, Thessaloniki<\/li>\n<li>\u5e38\u7530\u69d9\u5b50<br \/>\nMakiko TSUNEDA<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_099-107_Makiko-TSUNEDA.pdf\">Gender and Education in Translation: A Case Study of Arv\u00e8de Barine\u2019s Partial Translation of <em>The Tale of Genji<\/em><\/a><\/li>\n<li>\u9577\u5c3e\u5929<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_109-121_Takashi-NAGAO.pdf\">\u30ed\u30d9\u30eb\u30c8\u30fb\u30de\u30c3\u30bf\u3068 P. D. \u30a6\u30b9\u30da\u30f3\u30b9\u30ad\u30fc\u2500\u2500\u56db\u6b21\u5143\u306b\u304a\u3051\u308b\u6642\u9593\u306e\u7a7a\u9593\u5316\u3092\u3081\u3050\u3063\u3066\u2500\u2500<\/a><br \/>\nTakashi NAGAO<br \/>\nRoberto Matta and P. D. Ouspensky: Spatialization of Time in the Fourth Dimension<\/li>\n<li>\u30ca\u30ef\u30d3\u3000\u30a2\u30cf\u30de\u30c3\u30c9\u77e2\u9ebb<br \/>\nYama Ahmad NAWABI<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_123-139_Yama-Ahmad-NAWABI.pdf\">A Non-Destructive Method for Archaeological Research using Ground Penetrating Radar: A Case Study in Chiba Prefecture, Japan<\/a><\/li>\n<li>\u96e3\u6ce2\u7f8e\u7dd2<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_355-380_Mio-NAMBA.pdf\">\u5ef6\u66a6\u5e74\u9593\u5f8c\u534a\u306b\u304a\u3051\u308b\u4ecf\u6559\u653f\u7b56\u306e\u5c55\u958b\u2500\u2500\u4e3b\u306b\u6853\u6b66\u5929\u7687\u3068\u65bd\u6681\u306e\u95a2\u4fc2\u3092\u5951\u6a5f\u3068\u3057\u3066\u2500\u2500<\/a><br \/>\nMio NAMBA<br \/>\nEvolution of the Policy of Buddhism (\u4ecf\u6559\u653f\u7b56) during the Enryaku Period ( \u5ef6\u66a6\u5e74\u9593 ) \uff5e relations between Emperor Kanmu (\u6853\u6b66\u5929\u7687) and Segyo (\u65bd\u6681) \uff5e<\/li>\n<li>\u798f\u7530\u6dd1\u5b50<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_141-151_Yoshiko-FUKUDA.pdf\">\u30b5\u30f3\u30fb\u30de\u30eb\u30b3\u4fee\u9053\u9662\u30c9\u30eb\u30df\u30c8\u30ea\u30aa\u58c1\u753b\u88c5\u98fe\u306e\u610f\u7fa9<\/a><br \/>\nYoshiko FUKUDA<br \/>\nThe meaning of cell frescoes in the Convent of San Marco<\/li>\n<li>\u76ca\u7530\u670b\u5e78<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_153-168_Tomoyuki-MASUDA.pdf\">\u30aa\u30d5\u30ea\u30c9\u306e\u30d1\u30ca\u30ae\u30a2\u30fb\u30da\u30ea\u30d6\u30ec\u30d7\u30c8\u30b9\u8056\u5802\u58c1\u753b\u306b\u304a\u3051\u308b\u300c\u4e09\u306e\u795d\u798f\u300d<\/a><br \/>\nTomoyuki MASUDA<br \/>\nCelebration of the Number Three in the Church of Panagia Peribleptos, Ohrid<\/li>\n<li>\u5bae\u57ce\u5fb3\u4e5f<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_169-181_Tokuya-MIYAGI.pdf\">\u30bb\u30cd\u30ab\u306e\u60b2\u5287\u300e\u30e1\u30c7\u30a2\u300f\u306e\u7b2c\u4e00\u5408\u5531\u968a\u6b4c\u3068\u795d\u5a5a\u6b4c\u306e\u4f1d\u7d71<\/a><br \/>\nTokuya MIYAGI<br \/>\nThe First Choral Ode in Seneca\u2019s Medea and the Tradition of Epithalamia<\/li>\n<li>\u5bae\u5742\u771f\u4f9d\u5b50<br \/>\n<a href=\"https:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_183-192_Maiko-MIYASAKA-1.pdf\">fides \u304c\u610f\u5473\u3059\u308b\u95a2\u4fc2\u6027\u2500\u2500\u30d7\u30e9\u30a6\u30c8\u30a5\u30b9\u4f5c\u54c1\u3092\u3082\u3068\u306b\u2500\u2500<\/a><br \/>\nMaiko MIYASAKA<br \/>\n<em>Fides<\/em> in Plautus: Relationships defined by <em>Fides<\/em><\/li>\n<li>\u5bae\u5d0e\u831c<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_193-202_Akane-MIYAZAKI.pdf\">\u300e\u591c\u306e\u30ac\u30b9\u30d1\u30fc\u30eb\u300f\u306b\u304a\u3051\u308b\u8a69\u3068\u7d75\u753b\u306e\u5354\u594f\u2500\u2500\u7b2c 1 \u306e\u66f8\u300c\u30d5\u30e9\u30f3\u30c9\u30eb\u6d3e\u300d\u304b\u3089\u2500\u2500<\/a><br \/>\nAkane MIYAZAKI<br \/>\nHarmony between Poem and Pictorial Image in <em>Gaspard de la Nuit<\/em><br \/>\n\u0336\u0336 On \u201cPremier Livre: \u00c9cole Flammande\u201d \u0336\u0336<\/li>\n<li>\u68ee\u65b0\u4e4b\u4ecb<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_344-354_Shinnosuke-MORI.pdf\">\u300e\u767a\u5fc3\u96c6\u300f\u5f8c\u4eba\u88cf\u66f8\u6519\u5165\u8aac\u2500\u2500\u5dfb\u7b2c\u516d\u672b\u306e\u601d\u60f3\u306a\u3069\u306b\u7740\u76ee\u3057\u3066\u2500\u2500<\/a><br \/>\nShin\u2019nosuke MORI<br \/>\nThe Mis-inserted Note in <em>Hosshinsh\u016b<\/em>: Focusing on the Thought at the End of Volume 6<\/li>\n<li>\u68ee\u7530\u60a0\u6689<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_203-212_Yuki-MORITA.pdf\">\u30d4\u30ab\u30d3\u30a2\u306b\u304a\u3051\u308b \u201cMachinist Paintings\u201d \u518d\u8003\u2500\u2500\u226a\u3053\u308c\u304c\u30cf\u30f4\u30a3\u30e9\u30f3\u30c9\u226b\u3092\u4e2d\u5fc3\u3068\u3057\u3066\u2500\u2500<\/a><br \/>\nYuki MORITA<br \/>\nReconsideration of Picabia\u2019s \u201cMachinist Paintings\u201d: Focusing on <em>Voil\u00e0 Haviland<\/em><\/li>\n<li>\u67f3\u4e0b\u60e0\u7f8e<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_213-224_Emi-YAGISHITA.pdf\">\u4f0a\u85e4\u9053\u90ce\u306e\u30a2\u30e1\u30ea\u30ab\u306b\u304a\u3051\u308b\u821e\u8e0a\u6d3b\u52d5\u2500\u2500\u30ed\u30b5\u30f3\u30bc\u30eb\u30b9\u3067\u306e\u6d3b\u52d5\u3092\u4e2d\u5fc3\u306b\u2500\u2500<\/a><br \/>\nEmi YAGISHITA<br \/>\nMichio Ito\u2019s Dance Activities in the United States: His Career in Los Angeles<\/li>\n<li>\u5c71\u7530\u9686\u884c<br \/>\nTakayuki YAMADA<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_225-241_Takayuki-YAMADA.pdf\">An Analysis on Berenice Abbott\u2019s \u201cChanging New York\u201d: People and Lives of the Heterogeneous City<\/a><\/li>\n<li>\u30e9\u30dd\u30fc\u30fb\u30ac\u30a8\u30bf\u30f3<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_325-342_Rappo-GAETAN.pdf\">\u8fd1\u4ee3\u306e\u7acb\u5ddd\u6d41\u7814\u7a76\u306e\u7aef\u7dd2<br \/>\n\u2500\u2500\u4e95\u4e0a\u5409\u6b21\u90ce\u8457\u300e\u6587\u89b3\u4e0a\u4eba\u300f\u306e\u8a95\u751f\u306e\u80cc\u666f\u3092\u6c34\u539f\u582f\u69ae\u3068\u306e\u4ea4\u6d41\u304b\u3089\u8aad\u307f\u89e3\u304f\u2500\u2500<\/a><br \/>\nRappo GAETAN<br \/>\nWriting about the \u201cheresy\u201d of the Tachikawa Sect in prewar Japan &#8211; The origins\u00a0of Inoue Kichijir\u014d\u2019s book \u201cMonkan sh\u014dnin\u201d and the influences of Mizuhara Gy\u014dei<\/li>\n<\/ul>\n<h3>\u7279\u96c6\u300c\u7f8e\u8853\u53f2\u5b66\u4f1a\u7b2c67\u56de\u5168\u56fd\u5927\u4f1a\u30fb\u62db\u5f85\u8b1b\u6f14\u9332 \uff08\u65e9\u7a32\u7530\u5927\u5b66\u5927\u9688\u8a18\u5ff5\u5927\u8b1b\u5802\u30012014\u5e745\u670817\u65e5\uff09<br \/>\nSpecial Feature \u201cProceeding of Invited Lecture at The 67th Japan Art History Society General Assembly\u201d (Large Lecture Halls of the Okuma Memorial Lecture Hall, Waseda University, May 17, 2014)<\/h3>\n<ul>\n<li>\u8d8a\u5b8f\u4e00<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_243-262_Koichi-KOSHI.pdf\">\u30e9\u30f4\u30a7\u30f3\u30ca\u306e\u7687\u5e1d\u30e2\u30b6\u30a4\u30af\u2500\u2500\u9020\u5f62\u539f\u7406\u7684\u30fb\u767a\u5c55\u53f2\u7684\u8003\u5bdf\u2500\u2500<\/a><br \/>\nKoichi KOSHI<br \/>\nThe Imperial Mosaic of San Vitale in Ravenna:\u00a0A Study with Special Reference to its Formative Principles and its History of Development<\/li>\n<\/ul>\n<h3>\u7279\u96c6\u300c\u898b\u3048\u308b\u795e\u3001\u898b\u3048\u306a\u3044\u795e\u2015\u795e\u306e\u4e0d\u53ef\u8996\u6027\u3092\u3081\u3050\u308b\u30ec\u30c8\u30ea\u30c3\u30af\u300d\uff08\u7b2c66\u56de\u7f8e\u5b66\u4f1a\u5168\u56fd\u5927\u4f1a\u3001\u65e9\u7a32\u7530\u5927\u5b66\u6238\u5c71\u30ad\u30e3\u30f3\u30d1\u30b9\u30012015\u5e7410\u670810\u65e5\uff09<br \/>\nSpecial Feature \u201cVisible God, Invisible God -Rhetoric over the invisibility of God\u201d (The 66th General Assembly The Japanese Society for Aesthetics in Toyama Campus of Waseda University, October 10, 2015)<\/h3>\n<ul>\n<li>\u76ca\u7530\u670b\u5e78<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_263-269_Tomoyuki-MASUDA.pdf\">\u300c\u898b\u3048\u306a\u3044\u795e\u300d\u306e\u30ec\u30c8\u30ea\u30c3\u30af<\/a><br \/>\nTomoyuki MASUDA<br \/>\nVisual Rhetoric on the Invisible God<\/li>\n<li>\u9577\u7530\u5e74\u5f18<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_271-281_Toshihiro-OSADA.pdf\">\u7948\u308a\u3068\u5fdc\u7b54\u2500\u2500\u53e4\u4ee3\u30ae\u30ea\u30b7\u30a2\u306e\u300c\u898b\u3048\u306a\u3044\u795e\u300d\u306e\u8868\u73fe\u306b\u3064\u3044\u3066\u2500\u2500<\/a><br \/>\nToshihiro OSADA<br \/>\nPrayer and Reply. Representation of Invisible God in Ancient Greek Art<\/li>\n<li>\u5c71\u672c\u967d\u5b50<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_283-289_Yoko-YAMAMOTO.pdf\">\u898b\u3066\u306f\u306a\u3089\u306a\u3044\u795e\u3005\u306e\u8868\u73fe\u3068\u53d7\u5bb9\u2500\u2500\u65e5\u672c\u306e\u795e\u3005\u306f\u3069\u306e\u3088\u3046\u306b\u8868\u3055\u308c\u3066\u304d\u305f\u304b\u2500\u2500<\/a><br \/>\nYoko YAMAMOTO<br \/>\nOn The Expressions and the Worships of Japanese Invisible Gods<\/li>\n<li>\u7530\u8fba\u7406<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_291-301_Tadashi-TANABE.pdf\">\u898b\u3048\u306a\u3044\u4ecf\u9640\u304b\u3089\u898b\u3048\u308b\u4ecf\u9640\u3078\u2500\u2500\u4ecf\u9640\u53ef\u8996\u5316\u3068\u4ecf\u50cf\u306e\u8d77\u6e90\u306b\u3064\u3044\u3066\u2500\u2500<\/a><br \/>\nTadashi TANABE<br \/>\nFrom the Invisible to the Visible Buddha \u00a0\u0336\u0336 The Visualization and Origin of the Buddha Image \u0336\u0336<\/li>\n<\/ul>\n<h3>\u7279\u96c6\u300c\u30d3\u30b6\u30f3\u30c6\u30a3\u30f3\u306e\u30ab\u30c3\u30d1\u30c9\u30ad\u30a2\u300d\uff08\u7b2c\u4e09\u56de\u8fbb\u4f50\u4fdd\u5b50\u7f8e\u8853\u53f2\u5b66\u632f\u8208\u57fa\u91d1\u30b7\u30f3\u30dd\u30b8\u30a6\u30e0\u3001\u65e9\u7a32\u7530\u5927\u5b66\u6238\u5c71\u30ad\u30e3\u30f3\u30d1\u30b9\u30012016\u5e743\u670827\u65e5\uff09<br \/>\nSpecial Feature \u201cByzantine Cappadocia\u201d (Sahoko Tsuji Memorial Lecture Series \u0336Third Lecture, in Toyama Campus, Waseda University, March 27, 2016)<\/h3>\n<ul>\n<li>\u30ab\u30c8\u30ea\u30fc\u30cc\u30fb\u30b8\u30e7\u30ea\u30f4\u30a7\uff1d\u30ec\u30f4\u30a3\uff08\u76ca\u7530\u670b\u5e78\u8a33\uff09<br \/>\n<a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_303-313_Catherine-Jolivet-Levy.pdf\">\u30ab\u30c3\u30d1\u30c9\u30ad\u30a2\u306e\u7d75\u753b\u3068\u9298\u6587\u2500\u2500\u9451\u8cde\u8005\u306b\u95a2\u3059\u308b\u60c5\u5831\u6e90\u3068\u3057\u3066\u2500\u2500<\/a><br \/>\nCatherine Jolivet-L\u00e9vy (Translated by Tomoyuki MASUDA)<br \/>\nPaintings and Inscriptions in Cappadocia as a Source on the Audience<\/li>\n<\/ul>\n<h3>\u5f59\u5831 Bulletin<\/h3>\n<ul>\n<li><a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_315-324_Report-on-Activities.pdf\">\u7dcf\u5408\u4eba\u6587\u79d1\u5b66\u7814\u7a76\u30bb\u30f3\u30bf\u30fc\u6d3b\u52d5\u5831\u544a(2015\u5e744\u6708\uff11\u65e5\uff5e2016\u5e743\u670831\u65e5)<\/a><br \/>\nReport on Activities (April 1, 2015\u2014March 31, 2016)<\/li>\n<\/ul>\n<h3>\u7de8\u96c6\u5f8c\u8a18 Postscript<\/h3>\n<ul>\n<li><a href=\"http:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/10\/Rilas04_453_Postscript.pdf\">\u7de8\u96c6\u5f8c\u8a18<\/a><\/li>\n<\/ul>\n<h3>\u5965\u4ed8 Colophon<\/h3>\n<ul>\n<li><a href=\"https:\/\/www.waseda.jp\/flas\/rilas\/assets\/uploads\/2016\/11\/Rilas04_454-455_Colophon.pdf\" target=\"_blank\">\u57f7\u7b46\u8005\u4e00\u89a7\uff0b\u5965\u4ed8<\/a><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u5e741\u56de\u767a\u884c\u3000ISSN\uff1a2187-8307 \u8868\u7d19 Cover \u8868\u7d19 \u76ee\u6b21 \u8ad6\u6587\uff08\u7279\u5225\u5bc4\u7a3f\uff09\u00a0Article (Special Contribution) \u30ea\u30c1\u30e3\u30fc\u30c9\u30fb\u30da\u30fc\u30cb\u30e3 Richard PE\u00d1A Waves on D [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":2003,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[64],"class_list":["post-1926","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-publications"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.waseda.jp\/flas\/rilas\/wp-json\/wp\/v2\/posts\/1926","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.waseda.jp\/flas\/rilas\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.waseda.jp\/flas\/rilas\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/rilas\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/rilas\/wp-json\/wp\/v2\/comments?post=1926"}],"version-history":[{"count":6,"href":"https:\/\/www.waseda.jp\/flas\/rilas\/wp-json\/wp\/v2\/posts\/1926\/revisions"}],"predecessor-version":[{"id":3406,"href":"https:\/\/www.waseda.jp\/flas\/rilas\/wp-json\/wp\/v2\/posts\/1926\/revisions\/3406"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/rilas\/wp-json\/wp\/v2\/media\/2003"}],"wp:attachment":[{"href":"https:\/\/www.waseda.jp\/flas\/rilas\/wp-json\/wp\/v2\/media?parent=1926"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/rilas\/wp-json\/wp\/v2\/categories?post=1926"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.waseda.jp\/flas\/rilas\/wp-json\/wp\/v2\/tags?post=1926"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}