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19件中 1-19件 表示 1
山元 哲朗 / 人文科学編116
ヘルダーリーンにおける「近代」
<著者名>  山元 哲朗
<発行年月> 2005年06月
<ISSN> 0287-1378
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石川 實 / 人文科学編116
黄金薔薇十字団への序奏
<著者名>  石川 實
<発行年月> 2005年06月
<ISSN> 0287-1378
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岩本 勲 / 人文科学編116
日本国憲法の政治思想史的意義・試論
<著者名>  岩本 勲
<発行年月> 2005年06月
<ISSN> 0287-1378
<概要表示>
The Constitution of Japan was enacted in 1947 and it has never been revised. The Liberal-Democratic Party has wanted to revise the article 9 which prohibits Japanese state from arming, but the conservative party has never succeeded in it. Because, it requires a majority vote of two thirds of diet members and of a majority of the referendum in order to revise The Constitution of Japan. Recently the political situation is changing. More than two thirds of diet members agree to revise of articles of The Constitution.  Though the draft of The Constitution of Japan was planed by GHQ, it succeeds to the liberal and democratic doctrines of 17-18 centuries developing in Europe. The Constitution guarantees the national sovereignty and fundamental human rights, and orders Japanese Government to abandon wars. The Constitution of Japan is one of the ideal constitutions in the twentieth century.  Japanese people should study such a historical background of The Constitution in order to appreciate it. If this essay is able to help understanding of the real worth of The Constitution, my tiny purpose may be attained.
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大川 俊蓮 拭/擁顕奮慂116
秦漢における穀物換算率について
<著者名>  大川 俊
<発行年月> 2005年06月
<ISSN> 0287-1378
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北野 雄士 / 人文科学編116
文久2〜3年の政治危機と横井小楠─献策に込められた究極目的は何か─
<著者名>  北野 雄士
<発行年月> 2005年06月
<ISSN> 0287-1378
<概要表示>
 This paper examines the proposal of policies written by Yokoi Sh?nan(1809-69) to Matsudaira Yoshinaga(1828-90), the 16th lord of the Echizen domain, and explores Shonan’s intentions and purposes embedded in the text.  Shonan played an active role as an advisor to Yoshinaga, who became the chief political advisor of the Tokugawa shogunate in 1862.  In 1862, Shonan framed the policy for the Echizen domain to claim that the shogunate should abrogate the treaties between Japan and European countries, and refresh the initiative to open Japan by calling for a conference of all the lords of Japan. In 1863, Shonan rewrote the policy with some different nuances to recommend that Yoshinaga should go to Kyoto with his 4,000 armed vassals and soldiers to realize an international conference between Japan and European countries, and to establish a new government under the rule of Tenno.  The policy of 1863 differed from that of 1862 on three points. (1) The policy of 1863 aimed at the deprivation of political power of radical exclusionists in Kyoto through military power. (2) It did not assume the abrogation of the treaties as its premise. (3) It was a measure to win European countries over to the Japanese side and to make an appeal to the world.  These changes in Sh?nan's policies were due to his awareness of the tensions between Japan and European countries and the state of serious domestic crisis in Japan in 1863. His ultimate aim was to avoid civil war and the intervention of European countries, and to maintain the independence of Japan.
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神崎 ゆかり / 人文科学編116
ヘンリー・ジェイムズの「友だちの友だち」─語り手の“ファンタジー”─
<著者名>  神崎 ゆかり
<発行年月> 2005年06月
<ISSN> 0287-1378
<概要表示>
Henry James's “The Friends of the Friends” first appeared in 1896 under the title of “The Way It Came”, two years before the publication of The Turn of the Screw, perhaps the most provocative ghost story written by James. Since Edmund Wilson argued that the ghost in The Turn of the Screw was simply a production of the narrator's mind, many critics have also focused on the mind of the narrator in “The Friends of the Friends.” They conclude that the narrator is jealous of her friend who shares the psychical experience with her fianc?, which makes the narrator imagine the ghost of her friend. To read this story simply as a product of the narrator's jealousy, leaves some inconsistency remaining. The ambiguity of the ghost and the narrator's enigmatic behavior lead the reader to another interpretation. This paper demonstrates the alternative reading that the narrator, obsessed with her hypothesis, creates her “fantasy” in the sense used in psychoanalysis, meaning‘the imaginings to which we are all addicted, but which some disturbed persons take in greater or lesser degree as “fact.”' At the end of the story we realize that we have been caught in the narrator's imaginative world and that “The Friends of the Friends” is James's “amusette” to catch those readers who are “not easily caught.”
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福田 美智代 / 人文科学編116
Approaches to Voice in Current English from the Standpoint of Agent
<著者名>  福田 美智代
<発行年月> 2005年06月
<ISSN> 0287-1378
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中村 茂裕 / 人文科学編116
法律家のまなざし 『スキュデリー嬢』をめぐって
<著者名>  中村 茂裕
<発行年月> 2005年06月
<ISSN> 0287-1378
<概要表示>
 The theme of this paper is to analyze the ‘growing up’ of Scuderi, a Court lady poet, from the viewpoint of the jurist, and to consider the relationship between the power of a nation and the administration of justice in accordance with the granting of a grace or pardon.  In the criminal society of Paris under the control of Louis the 14th, who is proudly called the twinkling polestar of every love and gallantry, Miss Scuderi was protected and isolated from the real criminal world.  But after the sudden break in by Olivier into her house, she is fatally thrown into the middle of the criminal affair of Cardillac. Because of the Madelon's beauty and her own belief that Olivier is not guilty, she works for Olivier as an examining judge. D'Andilly, the most significantly helpful person, gives her much legal advice, including the grace. At last, in the presence of Louis the 14th she can successfully ask for the redemption of Oliver and through behavior she becomes a real writer, a ‘serapion’ writer. The grace is very important, but it has no relation with the law.  Not in the poetic presentation, the fictional poetic possibility of sublation of the contradiction between the positive justice, which the jurist can realize, and the absolute justice but in the real life, which can be told by a ‘serapion’writer, she can display through herself, the poetic presentation.
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鈴木 章能 / 人文科学編116
“肖像”の振る舞い(パフォーマンス)──William Faulknerの“Portrait”
<著者名>  鈴木 章能
<発行年月> 2005年06月
<ISSN> 0287-1378
<概要表示>
“Portrait,” a work of poetry which William Faulkner wrote in 1921, is regarded as a love poem by many scholars. They believe that in it, the narrator, with Faulkner under the mask of a clown, invites a young woman as a portrait to speak of careful trivialities together with him. But the following two points force us to consider a crucial question; who is the true subject of the portrait in the poem? First, a portrait is generally defined as a figure of someone, especially of his or her face, in which we can recognize him or her. In “Portrait,” however, we can not do this at all: the woman keeps hanging her head and hiding her eyes. Second, “Portrait” shows us that the woman's voice brings the narrator into view, and then that the author and the text in itself come into existence. It is not that the author Faulkner produces a mask and under it gives the description of the woman's voice, but that the voice produces the mask, or the narrator of the poem, and it produces the subject of the author.The best account for these facts can be found in Jean-Luc Nancy's discussion of a self-portrait. He says that a self-portrait is the subject in itself of a person as presence of absence. We can never see our own face with our own eyes. A person, hence, paints a self-portrait on the canvas, expecting others' look or voice to himself or herself. The same is true of our mask which we wear in everyday life. The mask is, thus, also the subject of a person, but not any signed representation of such tendencies, actual or imaginary, as are perceived by the subject as being part and parcel of his or her psychological, mental or physical makeup.There is agreement that Faulkner wore the mask of an artist and dandy in everyday life. And one of the masks into which they were integrated was the mask of a clown, the narrator of “Portrait.”  The writer said that “I read and employed verse, firstly, for the purpose of furthering various philanderings in which I was engaged, secondly, to complete a youthful gesture I was then making, of being ‘different’ in a small town.”  It demands him to write poetry, expecting the look or the voices of young women who are his contemporaries. In short, their voices produce his mask of an artist and a dandy, or Faulkner himself. This is fully expressed in “Portrait.”  We, therefore, can reasonably conclude that “Portrait” is a performance of Faulkner as a “portrait” and a kind of meta-poem of his poetry.  
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Timothy HARRIS / 人文科学編116
Orthographic Representation of Reductions and Rapid Speech in English
<著者名>  Timothy HARRIS
<発行年月> 2005年06月
<ISSN> 0287-1378
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小出 惇 / 人文科学編116
非分離前綴er-をもつ動詞に関する一考察─特に「結果相」を表すer-動詞について─
<著者名>  小出 惇
<発行年月> 2005年06月
<ISSN> 0287-1378
<概要表示>
Germam compound verbs with the inseparable prefix “er=” are brought up here for discussion with regard to their semantic features especially from the viewpoint of Aspect or Aktionsart. The aspect of the “verbs with the prefix er=”(hereinafter called “er=verb”) can generally be classified into two types: “inchoative” and “resultative”. The verbs, which we are dealing with here in the main, are “resultative er=verbs”.  The prefix “er=”, like the inseparable prefix “be=”, is capable of performing the grammatical functions all the more intensively, because the prefix itself has practically no meaning or significance. One of the grammatical functions of the prefix “er=” consists in deriving “transitive verbs”, each of which, in comparison with a transitive “be=verb” attended by an “accusiative affectum object”, demands an “accusative effectum object” or an accusative object denoting a “substance possessed or to be possessed by a person as the subject of the given sentence”.  When such an “er=verb” involving the resultative aspect is paraphrased by using the relevant simple verb, the accusativ object demanded by the er=verb, can be replaced with the appropriate “prepositional noun phrase”. Here arises the possibility that such er=verbs as are being discussed here can be semantically subdivided by means of the prepositions employed for the paraphrasing.
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荒木 英行 / 人文科学編116
E.T.A.ホフマンの『スキュデリー女史』よりカルディヤックの犯罪心理
<著者名>  荒木 英行
<発行年月> 2005年06月
<ISSN> 0287-1378
<概要表示>
 The novel “Miss Scuderi” by E.T.A. Hoffmann is an ancestor of the modern mystery.  Murder cases occurred one after another in Paris under the reign of Louis XIV. Gentlemen who requested jewelry were murdered one by one, and their jewelry was plundered. I analyzed this novel and discovered a tripartite structure.(1)The author describes the developments.(2)In the description, one of the characters (a suspect) gives a deposition.(3)Furthermore, the real criminal confesses his crimes in the desposition. The criminal himself is rather easily identified, but the motive for the crime remains a mystery.  I therefore examined the psychology of the criminal Cardillac, a jeweler, and consequently discovered three factors.(1)Artisan spirit. He never wants to part with his jewelry in his own care [cultural dimension].(2)An abnormal partiality for jewelry, inherited from his mother. This is fetishism [biological dimension].(3)Oedipus complex. He puts his client(a man who presents jewelry)and a lover of his mother in the same category [psychological dimension].  These factors connect with each part of the tripartite structures.  There is also one additional dimension. The Paris of those days was fertile soil for criminal activity [social dimension]. Mysteries today are simply a form of entertainment, and identifying the criminal is a kind of game.  However, the forefather of the modern mystery was pure literature. In the novel, we explore the mysterious mental state of people who live in society.
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吉村 昌之,大川 俊隆,岡山 茂彦,小寺 裕,角谷 常子,田村 三郎,田村 誠,張替 俊夫,馬 彪 / 人文科学編116
張家山漢簡『算数書』訳注稿(7)
<著者名>  吉村 昌之,大川 俊隆,岡山 茂彦,小寺 裕,角谷 常子,田村 三郎,田村 誠,張替 俊夫,馬 彪
<発行年月> 2005年06月
<ISSN> 0287-1378
<概要表示>
The unearthed book “Suanshu-shu(算数書)” is the oldest book of mathematics in China. In order to report this book’s proper collation, translation, and annotation, the very first procedure was to decipher the letters from photographs with the following investigation of the results with the mathematical and historical viewpoints. This is the seventh released article based on our research and results in which we studied 9 sections named “Shuitian(税田)”, “Wuquan(誤券)”,“Zuwuquan(租誤券)”,“Qucheng(取程)” ,“Quxicheng(取程)”, “Xing(行)”,“Qiguang(啓広)” , “Qizong(啓縦)” and “Haozu(耗租)”
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東 好男 / 人文科学編116
─『カンタベリ物語・総序の歌』用語索引(4)─
<著者名>  東 好男
<発行年月> 2005年06月
<ISSN> 0287-1378
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田口 まゆみ / 人文科学編116
ニコラス・ラヴ 『イエス・キリストの尊い生涯の鏡』:水曜日 第十九章─第二十四章
<著者名>  田口 まゆみ
<発行年月> 2005年06月
<ISSN> 0287-1378
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七尾 誠 / 人文科学編116
テオフィル・ゴーチエ作  「オペラ座ネズミ」
<著者名>  七尾 誠
<発行年月> 2005年06月
<ISSN> 0287-1378
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永井 達夫 / 人文科学編116
「Hot Potatoes」を使った初修ドイツ語CALL教材について
<著者名>  永井 達夫
<発行年月> 2005年06月
<ISSN> 0287-1378
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但馬 貴則 / 人文科学編116
富士谷御杖の初期の歌道が目指したもの−−『歌道非唯抄 稿本』の学説の検討から−−
<著者名>  但馬 貴則
<発行年月> 2005年06月
<ISSN> 0287-1378
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外村 彰 / 人文科学編116
岡本かの子全集未収録資料紹介
<著者名>  外村 彰
<発行年月> 2005年06月
<ISSN> 0287-1378
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