The melody in the 2nd movement of Symphony No.9, op.95 "From the New World" by Antonín Dvořák (1841-1904) is popular in Japan as Ieji (家路). This title Ieji is a translation of Goin' Home, published with lyrics in 1922 by William Arms Fischer (1861-1948), a disciple of Dvořák. The present paper aims to shed light on the questions of since when Goin' Home has come to be known as Ieji, how the lyrics of the two pieces are related to each other, and how Ieji has spread to the public.The Japan release of the record by Shilkret in March 1931 prompted Goin' Home to be known as Ieji. Radio broadcasting has started to introduce the piece as Ieji since 1932, although the song was written in English. A number of music scores with Japanese lyrics based on Goin' Home started to appear in 1934; three years later in 1937, radio programs started to play the translated piece under Ieji or a similar title. Even though `home' in Fischer's Goin' Home had double sense, the literal sense of `one's homeland' and the extended sense of `the house in heaven,' only the former has spread to the public as the song became known as Ieji.

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Throughout Truman Capote's The Grass Harp, places described in the text are associated with characters and textual themes. The tree-house, for instance, is located on the edge of River Woods which itself stands on the border of the town. To escape Verena Talbo's oppression, Dolly Talbo, Collin Fenwick and Catherine Creek seek refuge in the tree-house, mutually aligning with the attributes the three share: marginality and otherness. Judge Charlie Cool who also embodies the same attributes joins them there. Similarly, set against the central location of Verena's room in the Talbo house, the attic is positioned at a marginal location, a corner where Collin secretly builds a sense of intimacy with Dolly. Such locations as well as the characters who retreat there can be perceived as a center/periphery dichotomy where the center dominates the periphery. This analytical approach affords recognition of opposing concepts or worlds shadowed in the text: exterior/interior, life/death, fixedness/wandering, reality/unreality, immaturity/maturity, order/disorder, among others. Especially, it is Dolly who oscillates between the above dichotomies, with her veil flapping in the wind as a symbol of her freedom and fleetingness of her portrayed characters.

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Seit dem Super-GAU in Fukushima am 11. 3. 2011 und der nachfolgenden radioaktiven Verseuchung des Landes sowie der Strahlenbelastung der Menschen ist „Atomkraft" weltweit, aber vor allem in Japan, ein ernstes Problem. Die vorliegende Arbeit zeigt die Bedeutung des Deutschunterrichts in Japan anhand des Themas „Atomkraft" mithilfe des deutschen Spielfilms Die Wolke (2006) auf. Zuerst werden die Bedeutung und die Effektivität des Filmeinsatzes im Fremdsprachenunterricht in Hinsicht auf die Vermittlung der Landeskunde, danach Motivierungsstrategien und die Förderung des Hör-Sehverstehens als fünfte Fertigkeit neben Hörverstehen, Sprechen, Leseverstehen und Schreiben diskutiert. Anschließend wird das grundlegende Prinzip bei der Auswahl von Filmszenen erklärt. Den Abschluss bilden für den Unterricht relevante didaktische Beispiele und Übungen.

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Il rapporto tra città e campagna dell'Italia centro-settentrionale nell'età tardo –medievale è concepito prevalentemente nei movimenti della formazione dello Stato territoriale e, di conseguenza, viene improntato fortemente dalle visioni urbano-centriche. Nonostante dei recenti studi che denotano attenzioni sulla diversità e sul vigore economico delle società rurali nel Duecento, sono ancora evidenti le tendenze a confrontare le immagini del mondo rurale sottomesso con quelle della città dominante nel quadro strutturale moderno di uno Stato territoriale. Questo lavoro mira a qualche modificazione dello schema tradizionale, per delineare la realtà rurale medievale non sempre monotona, e per comprendere le sue parti nelle relazioni sociali ed economiche tra il mondo cittadino, basate sull'accordo reciproco.

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This paper deals with Chopin's harmonic plans and tonal correlations, which construct the development sections of his 3 Piano Sonatas' first movements. In this point of view it is difficult to find logical consistency in the development section of his Third Piano Sonata that contains various elements of "wild disorder and the luxuriance called tropical" as James Huneker said. On the contrary, that of the Second Sonata consists of 8- or 16-measure units from beginning to end, and which of each is held together by the principle of unity and variety. What is the reason of not being able to divide the development section of the third into some parts as clearly as that of the second, and is there any relationship maintained between the harmonic and tonal aspects of these three Piano Sonatas? This paper will attempt to solve these questions through detailed harmonic analysis and elaborate comparison of the development sections of the first movements in Chopin's three Piano Sonatas.

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