This study deals with the architectural method of Josep Maria Jujol, one of the most important architect in Catalonia, at the begining of the 20th-century, by the analysis of the changing of the architectural thought of the 20th century in Catalonia. With this purpose, this paper consists of two parts chiefly; the first part is exhausive collection of Jujol's discourses, the second part is rearranging of chronological order of all the articles dealing with Jujol mainly that written after his death. The intention of this paper is, therefore, to expound Jujol's architectural thought both inside and outside and to provide the begining of the serial study of Jujol.

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大阪万博は，美術教育の視点から検討すると，①理念とテーマ，②アートディレクターとアートプロデューサー，③シンボルマークとピクトグラム，④館内ディスプレイと屋外造形，⑤万国博美術展のテーマと現代美術，⑥テーマ「夢・未来」等の問題と，そのジャンル・主題の関係が見えてくる。本稿は，この洞察をもとに，美術教育のジャンル・主題・題材が大阪万博から多くの影響を受けたのではないかという可能性について論点整理を試みた。その検討の材料として，『小学校図画工作指導書』（1960）及び『構想段階の指導』（1986）を取り上げた。これらの考察を通して，子どもは表現に関わる課題解決にあたり，与えられた統一テーマ（題材名など）に向き合い，いかに自己のテーマを創出し構想していくかの重要性に気付いた。これらの仮説は，今後それぞれのテーマごとに詳しく検討される必要がある。

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 In this paper, We modeled a method of idea forming as a designing support tool which we used “form expression that is not like a conscious intention (automatic drawing the following, “A-dw”)” positively for a stage in early period of design (the following, “A-dw's method of idea forming”). And we reported the substantial result that we analyzed by design experiment using this method. We repeated time savings at the beginning from 60 seconds by preliminary experiment 1, and tested drawing time per one sheet to draw in five minutes for 20 students majoring architecture design. As a result, we judged the most suitable time for drawing "A-dw" as six seconds (50 sheets). At this time, we could confirm a phenomenon to repeat similar drawing (the following, “chain drawing”) in continual drawing.
 By preliminary experiments 2 and 3, the usability of the idea method for the subject, time allocation of each STAGE(01 - 04) , on the premise with the conscious "the drawing that was unrelated to intention-like problem", "A-dw" assuming the problem explanation was made and reference method of "A-dw" from influence on STAGE02 by "the chain", above-mentioned four points from inspection. As a result, I set by the flow of the "A-dw’s method of idea forming "(Fig11).
 We compare (This experiment) subject group to apply the A-dw’s method of idea forming (the following, "ON team") with the subject group designing it freely (the following, "OFF team") in at the time of a design. We assumed the problem like the preliminary experiment, organized into two teams by 12 students for 24 architectural design students and tested a design. And, for the last proposal, we evaluated it by two kinds of following methods by five business designers who did not know the contents except the problem at all.
 1)Rank scale evaluation: we added up a mark of the last proposals to make an order them,
 2)Five phases of six items evaluations : we performed five phases of evaluations about six items [context] / [novelty] / [concreteness] / [form] / [space] / [expression]

 The findings are as follows.
 1)ON team which employed "A-dw’s method of idea forming" had high assessment score in the final proposal about both an order standard evaluation and Five phases of six items evaluations, an order standard evaluation, and an evaluation of [novelty] was particularly high in six items.
 2)ON team compared with OFF team, scored higher in the final proposal at the average points of idea. It is thought that the early idea emission (A-dw) promoted the emission of the subsequent idea.
 3)Contents of "Starting point Idea(Sp-I)", there is a clear difference, ON team [Non architecture (Other than building relations)] ⇔ OFF team [Architecture (Building relations)].
 4)In higher group of ON teams, compared with lower group had higher Ratio to convert into a new form and concept from "A-dw" which was similar to [Have no concept].
 In other words drawing not to be connected to the contents which are targeted for a design(problem) like [Have no concept] directly is easy to lead conversion to the new recognition and interpretation that are like "unexpected discovery", and it is thought that it was more likely to lead to the high suggestion of the evaluation.

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This paper examines how the influence of genre-transcending Modernist artistic experiments in 1920s Paris hybridized Ernest Hemingway, locating him between the French and the American, and also between the popular and the avant-garde. The key to his popular success, and his famously simple style, was this avant-garde influence which enabled him to construct “spatial” prose—prose as architecture—by accumulating simple sentences with no decoration (adjectives), a style usually known as “hard-boiled.”

Hemingway stayed in Paris from 1921 to 1928 and his work through the 1920s was influenced by his exposure to the avant-garde Modernist art movement there, especially through his interaction with artists of the plastic/visual arts. For example, through his then-mentor Gertrude Stein, Hemingway met Picasso and Miro; and the influences of those meetings are inscribed in his works: Hemingway structured his first collected short stories In Our Time(1925) as a Cubist painting, and wrote the final interchapter of In Our Time, “L’Envoi,” in a dream-like style reminiscent of Miro’s surrealist painting. Hemingway was also acquainted with Man Ray, the former New York Dadaist, famous for his photographic portraits of artists and celebrities in Paris. Man Ray was also experimenting with movie works and created some surrealist classics such as Le Retour a la raison(1923). Hemingway not only wrote “A Divine Gesture”(1922) under the influence of New York Dada, but also invented “cinematic prose” in “My Old Man” in In Our Time. In some stories and interchapters, he also experimented with a unique narration that can be compared to the movie camera.

Of all the avant-garde experiments in his writing during the 1920s, Hemingway was most clear about the influence of Cezanne’s paintings. Crucially, Hemingway learned that Cezanne sought to paint what he “really” saw: that is, not an artificial representation following the Renaissance perspective method, but something that accorded with his own perceptions. Hemingway intuitively understood this intercorporeal viewpoint of Cezanne’s, and realized it himself in “Big Two-Hearted River” where he was “trying to do the country like Cezanne”(SL 12). This story depicts an American landscape in detail but wholly through the perceptions of the sole character, Nick.

Through Cezanne’s paintings, Hemingway learned both how to write spatial prose and an intercorporeal understanding of the world. He first realized this in “Big Two-Hearted River,” where he depicted the American country that had been inscribed in his own body. Cezanne’s French bodiliness is thus connected with Hemingway’s American bodiliness. In addition, this intercorporeality is consonant with the American philosophy of Pragmatism that values physical experiences, and also can be related to the “organic architecture” of the American architect Frank Lloyd Wright. Hemingway’s spatial/corporeal prose is a blending of the French and the American, and it came to be essential throughout his career, even in his later works, in particular For Whom the Bell Tolls and The Old Man and the Sea. Thus, the foundation of this popular American writer is deeply related to his exposure to the Modernist avant-garde in 1920s Paris.

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これまでにも図画工作科と音楽科において,造形要素と音楽要素を関連付けたカリキュラムや教材は数多く提起されてきた。しかし,教科間の連携は十分に行われていないのが現状である。本論文では,図画工作科と音楽科の教科書の中から造形要素と音楽要素が関連付いた教材を調査し,教材内容の構造化を行った。そして,図画工作科と音楽科の合科的な指導を取り入れたカリキュラム編成の考え方を示した。

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本稿では建築家のアントニン・レーモンドとノエミ・レーモンドが収集した器物が展示された「Japanese Household Objects」展（1951年）を題材として、かれらが文化外交（カルチュラル・ディプロマシー）にどのような思いを介在させようとしていたのかを明らかにする。先行する成果として、たとえば2006年に開催された「Crafting a Modern World」展はジェンダー・スタディーズの観点をふまえ、アントニンだけではなくノエミの関与を含めてかれらの活動を包括的にまとめている。そこで本稿はこの成果に続き、ペンシルバニア大学のアーカイブズやMoMA Archivesに保管される資料を用いて、レーモンド夫妻の実践が占領期の社会と不可分の関係にあったことを示す。この「Japanese Household Objects」展は、ジョン・D・ロックフェラー三世とブランシェット・ロックフェラーが推進しようとしていた文化による外交をいちはやく視覚化する機会でもあった。ただしこの展覧会はノエミの打診に応じたフィリップ・ジョンソンが開催に至る準備を進めたため、自分たちの目で見た日本を紹介したいと考えていたアントニンとノエミは「日本の食卓を表していない」と不満を漏らした。他方、この会期中にはレーモンド夫妻がイサム・ノグチと共に設計を進めていたリーダーズ・ダイジェスト東京支社も竣工する。アントニンとノエミは「Japanese Household Objects」展に続き、このホールで開催された「現代日本陶磁展」にもかかわるが、要人が集まるこの展覧会もやはり、外交の渦中にあった。本稿では外交が文化を資源として扱うことでそれを規定し直す過程に着目しながら、こうした経緯を詳らかにすることによって、当時の外交が建築や絵画、彫刻、工芸といった造形の区分を再編する契機でもあったことを描く。あわせてアントニンとノエミが文化の当事者として外交に織り込もうとした思いと、それが後に及ぼした影響を考えたい。

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