Japan's traditional culture of physical arts, represented in the forms of performing arts and martial arts, was systematized in the period from the Middle Ages to the early modern era, when highly sophisticated methodologies for mental and physical discipline were developed through Taoist ascetic practices. This process eventually came to form a monistic view on mind and body.

The present paper focuses on kyujutsu, a martial art, and seeks to explain the mental and physical training techniques that characterise this form, as well its perspective on the human body.

The paper consists of the following:

1) Kyujutsu's theory of mind is concerned with the inner self. It sees the spirituality of a kyujutsu practitioner as being based upon unconscious judgements that transcend conscious ones. In addition, great importance is attached to the spatial grasp of physical sensation in order to hit the target.

2) A crucial challenge in martial arts is how to control mental commotion, since this is regard ed as a disturbance of ki (qi, or chi). In kyujutsu it is particularly frowned upon to shoot an arrow before one is sufficiently prepared to do so. This is called 'hayake' (rushed ki)and its cause is attributed to a psychological, not a physical, factor, i. e. disturbed ki.

3) An important element of Kyujutsu technique is kane. A detailed discourse has developed surrounding this concept. Kane refers to the angles of various parts of the body against equipment, of equipment against equipment, or of equipment against the body. Whether one succeeds in hitting the target depends on how accurately one adjusts these angles.

4) In kyujutsu, body and equipment are thought to constitute an inseparable whole, and the unity of body and equipment is considered a prerequisite for complete performance. Philosophically speaking, equipment is rendered part of the body and the body is rendered part of the equipment.

Jigoro KANO sejoura à Paris deux mois en 1889 et écrivit qu'il avait recontré M.ブイッソン【buisɔ】au ministère de l'Instruction Publique et M.グレアール【gurea:ru】à l'université de Paris. Just avant qu'il n'arrive à Paris, S'était tenu le "CONGRÈS INTERNATIONAL POUR LA PROPAGATION DES EXERCICES PHYSIQUES DANS ÉDUCATION" et nous pouvons trover parmi les participants, les noms de BUISSON et GRÉARD. Jusqu'à présent dans les études sur KANO, perssonne n'avait accordé d'attention à ブイッソン et グレアール, mais il est fort probable qu'il s'agissait de BUISSON et GRÉARD. Dans cette étude, je traiterai d'abord des travaux de BUISSON et GRÉARD. Puis je tenterai de démontrer que ブイッソン et グレアール étaient BUISSON et GRÉARD. Enfin je comparerai les travaux de KANO avec les leurs. Le sommaire de cette étude est le suivant:

1. Dans la première moitié des années 1880, BUISSON et GRÉARD ont été fortement impliqués dans le réformers qui ont abouti à la création de l'enseignement gratuit, laïc et obligatoire.

2. IIs sont participé du "CONGRÈS INTERNATIONAL POUR LA PROPAGATION DES EXERCICES PHYSIQUES DANS ÉDUCATION" dont Jules SIMON était le président et Pierre de COUBERTIN, un des secrétaires du comités d'organisation.

3. En consequence des ces considérations sur leur position, leur âge et leurs pensées, il est certain qu'il s'agit bien de ブイッソン et グレアール dont Parle KANO dans certains de ses livres.

4. La tentative de KANO pour établir une morale indépendente de toute religion particuliere est similaire à la pensée et à la méthode de BUISSON et GRÉARD.

5. Il est possible que la théorie de la "prospérité mutuelle" élaborée par KANO, ait été influencée par la pensée republiciane pendant la troisième République Française.

Sport consists of many different Kinds of meaning. Numerous studies investigating the meaning of sport have been conducted. These studies have traditionally focused on the meaning of sport on an individual level. However, what we must focus on here is not the interpretation of sport itself, but rather the generation of meaning in sport since it is the continual generation of meaning which allows us to develop our sporting performance. Previous studies have paid little attention to this mechanism.

The purpose of this research, therefore, is to clarify the mechanism by which meaning is generated in sport. For this purpose, several linguistic categories have been used. The results of this research are as follows.

Each sport has its own unique meaning. The meaning of sport can be found in the unique differences in each sport. A good example of this are the baseball terms “out" and “safe". Difference in sport enables the generation of new meaning. A good illustration of this is the term “libero" used in volleyball. From such results, the following conclusion can be drawn. The open structure of sport is such that it allows the differences which make the generation of meaning possible.

The purpose of this study was done to clarify relationships between floor techniques of Graham Martha as a dancer and a choreographer, and Yoga growing in India as oriental physical discipline. In order to solve the problems, methods analyzing materials such as literatures and VTR about dance were used.

As a result the following conclusion was provided.

It is said that dance works created by Graham feel like oriental. As one of the reasons, it is thought that many kinds of floor techniques using in her dance works let you image it so. It was in programs at "Denishawn School of Dancing and Related Arts" in California that Graham encountered India Yoga. By comparison between characteristics of floor techniques in dance created by Graham and India Yoga in 6 viewpoints, it was found that there are similarities between those of floor techniques and those of Yoga in "principle of contraction and release", "expressions by movement using spine", "floor as movement space", "respect to breathing", and "fundamental posture" except "notion of time". Therefore, it is said to become clear that Graham adopted elements of Yoga as oriental body culture in floor technique used in dance works created by her.

However, it is pointed out about the next mark. Each pose in Yoga is divided into one by one and it is only exercise or discipline, but not dance. In other words, fundamental elements of dance such as time, space, flowing of movements, expression, and aesthetics are not purposes of Yoga. Though Graham was incited by Yoga and accepted the principle of movements and ideas in Yoga, she created her own dance language strictly and dance works left in the history. This is not simply rediscovery. While she was receiving influence of Yoga, it is clearly that Graham developed techniques to become foundations of modern dance, created her original dance works, and built a new dance form which is different from that of classical ballet.

We hope that this paper will contribute to built new theories on interaction between western culture and eastern culture in dance.

Dance performance is represented synthetically by means of dancers' movements, content, sounds, costumes, lighting and other factors. Also, dance works performed on stage are created by choreographers and appreciated by audiences with their own images in some specific cultural context. Therefore, if the context is changed through time and person, the meaning, effect and images of dance works would be perceived differently.

Criticism is analysis, comparison and evaluation of the fine arts by criteria which are affected by the era and society in which performed. Therefore, in criticism for dance it is useful to specify characteristics of choreographers and dance performances and how they were perceived by the era and society. However, there is no methodology for analyzing dance criticism.

This study is the first step to establish a methodology for analyzing dance criticism. The purpose of this study was to distinguish the tendencies of dance criticism in Japan, and differences between genres such as ballet, modern, flamenco and joint. In order to resolve this purpose, material was collected from The Music and Dance Press through 1996. This is a special journal of dance and music in Japan. In addition, information contained in individual sentences was classified by 8 categories and 34 subcategories. The categories were "Synthesis and Image" , "Content" ,"Choreography and Composition","Stage Direction","Author", "Dancer" , "Environmental Elements" , and "Others" .

As a result the following conclusions have been reached:

1. Dance genres written about in "The Music and Dance Press" were ballet, modern, flamenco, and joint. In those, ballet and modern received the most attention. Moreover, it was found that a few articles selected very many dance performances in Japan.

2. It was found that, in general, the "Choreography and Composition" category had the most numerous reference in the dance criticism's contents, and "Synthesis and Images" category the next most numerous.

3. In comparisons between the four genres, ballet had more numerous references in the "Dancer" and "Content" , modern had more in the "Author" and "Others" , and flamenco had more in the "Dancer" and "Author" category.

4. It was found that, "Choreography and Composition" and "Synthesis and Images" category were the main content of dance criticism. In addition, some categories which were reflected by characteristics of each genre are possible to be valid viewpoints for criticizing each dance genre.

Consequently, it was executed to clarify the contents of dance criticism and characteristics of each genre by means of categorical analysis of information contained in dance criticism.

Human being stands on human body. But, in the past, it has not been formed into a subject for philosophic inquiry, with the exception that Plato and Aristotle considered from various angles about human body. Why they could make a fresh development of the philosophical theory on it is that the intellectual background at that time would capacitate for them to philosophize about the human body. A sure method of clarifying such intellectual circumstances is to analyze the representation of the human body in Greek sculpture focusing on human movement, for an understanding about something precedes a representation about that.

According to this hypothesis, in this paper, nine sculptural works from 'Kouros of New York' in the early Archaic style ( c. 600 - 650B. C. ) to 'Apoxyomenos of Lysippos' in the later Classical period ( c. 330 B. C. ) were considered. As tne result, it was verified that how to give expression to human movement in those works were changing step by step from the static style into the dynamic style in a period of about three hundred years. Auguste Rodin said that Greek sculpture stood at a height above the crowd in representation of human body. It will go to show that Greek had already arrived at a mature understanding of human body. It can be say that such intellectual background enables Plato and Aristotle to philosophize about human body.