Studies in English Literature
Online ISSN : 2424-2136
Print ISSN : 0039-3649
ISSN-L : 0039-3649
Volume 41, Issue 2
Displaying 1-50 of 71 articles from this issue
  • Article type: Cover
    1965 Volume 41 Issue 2 Pages Cover1-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (20K)
  • Article type: Index
    1965 Volume 41 Issue 2 Pages Toc1-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (48K)
  • Tsuyoshi Yagi
    Article type: Article
    1965 Volume 41 Issue 2 Pages 127-144
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    The main plot of Much Ado About Nothing bears a striking resemblance to that of Othello. Their difference is only in that one comes to a happy ending while the other rushes into a disastrous catastrophe. The story that a lover is tricked into believing his beloved to be false and rejects her bitterly is undoubtedly tragical. In Othello Shakespeare explored the psychology of the man who was driven to stand in such a plight. In Much Ado he chose a similar story as the chief material of a romantic comedy, but, needless to say, it was not suitable to comic dramatisation, even if it had a happy denouement. He had to relieve the tragedy of the story as much as he intensified it in Othello. He improved Leonato's status so that he did not need to feel small before Claudio in both rank and wealth; made Hero as sparing of words as possible and avoided leaving her alone with Claudio; weakened the force of evil by making Don John and other villains less intelligent; omitted the rendezvous scene of margaret and Borachio lest they should appear more wicked; abstained from dwelling on Claudio's mental suffering at the expense of him; and made the audience feel easy by giving the knowledge that the scheme against Hero had already been discovered before the church scene and only awaiting the disclosure. Moreover Shakespeare interweaved this main plot with the comic sub-plot of Beatrice and Benedick. The characters of Hero and Claudio are restricted in various ways by the parts they have to play, but Beatrice and Benedick give full scope to their gay and witty turns of mind. The former pair is easily brought together at the beginning and then separated by a malicious trick, whereas the latter pair, separated at first by mutual mistrust, is brought together by a, this time well-intentioned, trick. Antithesis is one of the well-worn devices in Shakespeare's dramaturgy, and he employs it here again with brilliant dexterity. It is, however, through the impact of Hero's calamity that the declared antagonists are brought to a final union. Thus the main and under plots are combined with the highest degree of closeness. This comedy is built up on tricks and overhearings, which are counted by eight times respectively. The drama is made to be complicated and interesting by the alternations and clashes of these devices.
    Download PDF (1184K)
  • Hajime Akiyama
    Article type: Article
    1965 Volume 41 Issue 2 Pages 145-164
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Is 'romantic' so heterogeneous with Johnson? The present article is an attempt to consider the significance of romantic elements found in Johnson's natural inclination and his literary writings. It is well known that Johnson loved to live in London. Indeed the Town was his element. And according to Macaulay he was a stay-at-home Londoner. Johnson, however, was also a Wanderer and much inclined to set out on a journey. After the Pension, he made a journey out of town almost every year. No doubt the main object of his travel was to see much of a new world with a view of understanding men and out of town almost every year. No doubt the main object of his travel was to see much of a new world with a view of understanding men and society more profoundly and comprehensively. Yet we can perceive a romantic desire behind his intention of traveling. Although it is said that nature was to Johnson "a closed book", he was never blind to the beauty of nature. See, for instance, the description of Hawkstone pard, which was drafted during his travel through North Wales with the Thrales: in it we can observe him enjoying the pleasing horror of the wilderness. In reality Johnson was impressionable to the unknown and imaginative pleasure. He thought imagination vain and dangerous, as stated in The Rambler or in Rasselas, chiefly from the ethical point of view. On the other hand, in The Lives of the English Poets, he was much interested in imagination as the source of novelty and originality in literary works, and that was from the aesthetic viewpoint. Above all he was delighted in the quick flight of imagination, shown by what he called metaphysical poets. In considering Johnson's romantic elements we cannot forget his famous defence, in Preface to Shakespeare, of Shakespeare's violation of the unities of time and place. In the essay Johnson criticized the rules of classical drama by pointing out the magic function of imagination, taking the greatest dramatist's side, though we should admit that the defence was essentially based on the classical conception of Nature and Reason. There, of course, he did not intend to be revolutionary to the classical tradition of drama. But Stendhal, deeply impressed by Johnson's interpretation of dramatic imagination, went so far as to name Johnson "le pere du romanticisme". This is very suggestive. Then, what is the significance of these romantic elements in Johnson? He was largely limited his activity as a poet or a writer through his own moralistic view of life, firm religious mind, and classical idea of poetry. Nevertheless he always endeavoured indefatigably" to rise to general and transcendental truths". In this spiritual progress Johnson was incessantly driven forward to pursuing a newworld by some demoniac power. Such vitality the present writer considers the essence of the romantic spirit, which revealed itself in form of various romantic elements here and there in this great English classicist.
    Download PDF (1173K)
  • Konomu Itagaki
    Article type: Article
    1965 Volume 41 Issue 2 Pages 165-181
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Henry James's presentation of the central character in The Wings of the Dove has attracted much unfavourable criticism. Indeed, it is true that Milly seems largely a 'mere presence' throughout the book. The method, however, may be justified in view of the novel's theme: transcendence of 'being' over 'seeing.' Milly is 'being' in the sense that her virtue has become so fine that it ceases to be seen in its operation and only its presence is felt. Hence, she sits in the altitudes of the Alps beyond the reach of 'seeing' and shuts herself in the Venetian palace. The fact that Milly is 'being' made clearer by a parallel example of Sir Luke. He, too, is 'being' in exactly the same sense that Milly is. His virtue has attained a stage of perfection where his effortless ease in the performance of good deeds appears to 'seeing' as a complete inactivity. When translated into the technique of novel, this virtue is embodied in the person of Sir Luke who, with his 'fine closed face' turned to us, is seen only in his inactivity. The quality of Milly's 'being' becomes far more clearly defined, however, when it is contrasted against 'seeing' of a cluster of characters who surround her and function as viewpoints by watching her. In Susan, her contemplation of Milly's being moves her to such an intensity of admiration that she feels it sacrilegious even to mention it. She conceals her knowledge of Milly's moral beauty and thus makes Milly's 'being' impenetrable to 'seeing.' In this impenetrability 'being' transcends 'seeing.' In Kate, 'seeing' is of exclusive importance. When the criterion of value is placed in 'seeing,' all things become objects of this 'seeing' and as such they stand on the same plane of significance. Thus, in her 'seeing' the dove's two aspects, a meek prey to be devoured and a noble being to be adored, are equal in significance. In the course of the story, however, her 'seeing' deepens and it comes to realize that 'being' and 'seeing' are on entirely different planes. Furthermore, when at the end of the novel Kate perceives in Densher an emergence of a new man aware of Milly's 'being,' she is convinced that 'being' has 'covered,' that is, transcended 'seeing.' Thus, in Kate, 'seeing' comes to a deepened sense of its own limitation. Densher is a character who hovers between the two poles of 'being' and 'seeing.' What attracts him to Kate at the beginning is the lucidity of her 'seeing.' At the end of the story, however, when he becomes conscious of the wondrous beauty of 'being,' 'seeing' loses its hold upon him. The influence which caused this change in him is of such a fine nature that its working is not seen while its effects are felt. In the texture of the novel such an influence is expressed by means of the image of water. While Densher floats effortlessly in the easy flow of warm waves, he is brought to his conversion without his knowledge of it. True, the image obstructs the reader from looking into Milly's psychological operations in working this change, but the obstruction is another form of homage which 'seeing' pays to 'being.'
    Download PDF (1042K)
  • Motoo Takigawa
    Article type: Article
    1965 Volume 41 Issue 2 Pages 183-194
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    The development of Hemingway's view of death can be traced through his trials to find out how to live in our life that is 'nada' in itself. In the trials there are three aspects; the first is the way of living that is found in the series of 'men of endurance' from Henry to Cayetano. They are to live in absolute lonliness rejecting the imminent death by means of their strong physical power. The essence of their way of living is revealed in Cayetano's tenacious attitude toward life when he says, "Continue, slowly, and wait for luck to change," which is nothing other than the claim for the existence of human beings in the painful, cruel and aimless violence of life. The second is in the images ranging from Macomber to Santiago. They are willing to challenge death, feeling "religious ecstasy" from their standpoint as 'men-out-of-himself.' This mental attitude of theirs is manifested in Hemingway's study of "the complete faena (of the bullfighter) that takes a man out of himself and makes him feel immortal while it is proceeding, that gives him an ecstasy that is, while momentary, as profound as any religious esctasy." The third and final one is Harry's attitude toward life. He exemplifies 'the dignity of human beings' beyond death in spite of the fact that he is completely deprived of physical power and good luck (the two fundamental elements of the above two aspects) by the limitation of time. This theme of the limitation of time is, for the most part, the principal element of Green Hills of Africa, and Harry's spiritual calmness is symbolized in the shining white snows of Kilimanjaro. The literary world of Hemingway begins with the real things which are pursued to the utmost, but it ends in the abstract sphere of thought in which the spiritual victory of man over death is groped for. Such an abstract conception of his world arises from his longing for the dignity of human beings who are destined to live in this life that has no end but death.
    Download PDF (730K)
  • Kikuo Yamakawa
    Article type: Article
    1965 Volume 41 Issue 2 Pages 195-213
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS

    In the history of the English language there is a tendency that most fundamental verbs that express motion, change, process, or static condition have weakened their original sense and turned into functional form-words as mere components of periphrastic verb-groups. One of the most striking verbs that have undergone this process is 'go.' Here I have observed various periphrastic or pleonastic usages with the verb that etymologically or semantically corresponds to ModE go, and how they have maintained diachronic currents through the periods of Old and Middle English. I have also noticed that the process is suggestive of some features in the development of auxiliaries in general. As to the phenomena of Old English, I shall first deal with uton gan (W.-S. Gosp., John xiv. 31). (W)uton in this verb-group was originally a subjunctive form in the plural first person, the corresponding infinitive being (ge)witan (to go). So the literary meaning of (W)uton gan was 'let us go to go.' Here (W)uton had been reduced to a genuine auxiliary for a periphrastic exhortative idiom. A more conspicuously periphrastic instance is offered by gewat faran (Beowulf 124). The simple infinitive faran (to go), which was originally adverbial and denoted purpose, has appeared as the chief element of predication, while the preceding finite form gewat merely functions as a kind of auxiliary which formally denotes tense and aspect. Such function of the uninflected infinitive resembles that of a present participle as it accompanies a verb of motion, hence the parallel use of both forms as in "com yrnan... com yrnende" (Eefric, Lives of Saints XXXI. 1038-43). Later, however, the latter comes to supersede the former as a more distinct means of expression in this syntactic position. Besides such subordinate constructions, there is the co-ordinate construction gap and leornigeap (W.-S. Gosp,. Matt. ix. 13), where gap and has lost its organic sense and turned into a formal device to invigorate the imperative tone in virtue of the ingressive force inherent in gap. In the Middle English period, up to the end of the thirteenth century, E (W)uton gan was inherited in the form of ute we fare (The Owl and Nightingale 1780), where the plural second person we was usually expressed as subject. But in and after the fourteenth century, the form was superseded by the more explicit and logical construction let us go. As a ME phenomenon corresponding to OE gewat faran, we may mention go roule aboute (Chaucer, C. T., D 653), which means something like 'gad about.' Here go, through structurally a main verb, is merely used to form a periphrastic construction, so as just to add some humorous or ironic touch to the expression. The periphrastic 'go' is also accompanied by a present participle. In such an instance as gooth ymagining (Chaucer, C.T., E 598), gooth has lost the original sense of motion, and the whole group means something like 'begins to imagine.' When 'go' is combined with a past participle, it naturally comes to act as a copula and hardly means anything more than 'become' or 'be,' as illustrated by "this was hire manere, To gon ytressed with hire heres clere" (Chaucer, Tr. & Cr. v. 809-810). The extreme extention of this periphrastic usage is observed in was go walked (Chaucer, C.T., D 1778). In this peculiar phenomenon, walked can be interpreted, as by Skeat, as a corrupted form of a-walketh, where -eth is a nominal suffix derived from OE -op, -ap. But the more justifiable explanation is that walked is a past participle, demoting a resultant state, and the intermediate go, though it may be morphologically a past participle weakened from goon, has here been inserted before the virtual past participle walked, so that go-walked can be considered a past participle of the compound go-walk. On the other hand,

    (View PDF for the rest of the abstract.)

    Download PDF (1111K)
  • Tomoshichi Konishi
    Article type: Article
    1965 Volume 41 Issue 2 Pages 215-232
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    In grammar the stone as in stone wall is usually not classified as an adjective-only the attributive use of the noun stone, while most of the dictionaries, especially published in the U.S., labelled it an adjective. Additional examples are easy to find. It is to be wondered whether there is any substantial difference in treatment lexical and grammatical. This actual classifactory discrepancy between grammar and dictionary gives us to think if there should intrinsically exist such clear-cut difference between them. If contradicted, then the reason for it must be worth consideration. The present writer proposes that the dictionary should use the best descriptive knowledge and methods that are available, if it is the job of a dictionary to describe the language as it is. From this standpoint he tries in this article to set up the definite criteria that may be basically used to distinguish between: 1. Noun and Adjective 2. Adjective and Verb (Participle)
    Download PDF (1051K)
  • Toichi Watanabe
    Article type: Article
    1965 Volume 41 Issue 2 Pages 233-248
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    1. Views widely diverge among scholars as to whether or how aspect should find its place in English semantics or grammar. The aim of this study is to introduce a tentative plan for admittance of that category ; it is also to inquire into some problems of usage in current English, in connection with aspect. 2. There might be three classes of aspects: (1) Lexical aspect (2) Contextual aspect (3) Syntactic aspect. Lexical aspect is an aspect represented by the lexical meaning of an individual verb. The sub-classification of lexical aspect (and also of contextual aspect) is : Durative aspect (including Indefinitely durative aspect of non-conclusive actional verbs), Momentaneous aspect (including Ingressive aspect, Terminate aspect, and Effective aspect), and Iterative aspect. 3. Contextual aspect is a lexical aspect confirmed or transferred by collocation or the context. The collocation may be an adverb, phrase, object, or complement, which follows the verb; also repeated words or phrases, or else aspect-indicating words preceding the verb. Lexical aspect and Contextual aspect correspond to Deutschbein's 'Aktionsarten'. 4. Syntactic aspect, which corresponds to his 'Aspekte', may be subdivided into Progressive aspect and Perfective aspect. These two are the only aspects for which there are well-developed forms of expression. 5. Progressive aspect (with the form 'be+-ing') indicates a condition of some action or event being in the process. 6. The idea expressed by Perfective aspect (usually, 'have+-ed') is a condition of relationship between some previously completed action or event and a state at a particular moment. 7. Non-progressive and non-perfect forms are sometimes equivalent to the expressions of Progressive aspect and Perfective aspect, respectively. Such simple forms, however, can be equivalent only through their lexical or contextual aspect, since they bear no syntactic aspect. 8. Progressive-aspect forms usually occur where the subjective view-point of the speaker is approached. Non-progressive forms, on the other hand, are normal where actions or events are spoken of as wholes. At the same time it is noteworthy that the progressive has supplanted the simple form to a very large extent. 9. Perfective aspect deals with a present condition as the result of some past action. Therefore, the non-perfect forms of statal verbs, when they express a present state, are often close to the corresponding aspect forms. Sometimes past or future perfect forms are substituted by the non-perfect, presumably because of their awkwardness. 10. As the result of bringing the above-mentioned aspects into the syntactic system, tenses are limited to present, past, and future, with the exception of 'before-past' and 'before-future'. Aspects are inferred to have been diverted to the latter two.
    Download PDF (767K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 249-252
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (301K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 252-255
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (321K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 255-259
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (407K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 259-262
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (318K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 262-270
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (635K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 271-272
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (210K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 273-274
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (222K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 274-276
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (298K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 276-278
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (307K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 278-280
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (319K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 280-281
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (230K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 281-283
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (328K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 283-285
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (296K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 285-287
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (240K)
  • Article type: Bibliography
    1965 Volume 41 Issue 2 Pages 288-296
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (512K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 297-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (128K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 297-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (128K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 297-298
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (217K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 298-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (128K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 298-299
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (213K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 299-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (125K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 299-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (125K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 300-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (132K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 300-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (132K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 300-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (132K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 300-301
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (227K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 301-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (139K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 301-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (139K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 301-302
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (231K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 302-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (138K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 302-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (138K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 302-303
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (239K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 303-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (144K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 303-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (144K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 303-304
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (218K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 304-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (109K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 304-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (109K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 304-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (109K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 305-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (133K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 305-
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (133K)
  • [in Japanese]
    Article type: Article
    1965 Volume 41 Issue 2 Pages 305-306
    Published: March 30, 1965
    Released on J-STAGE: April 10, 2017
    JOURNAL FREE ACCESS
    Download PDF (223K)
feedback
Top