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  • 富田 仁
    比較文学
    1972年 15 巻 93-94
    発行日: 1972/10/31
    公開日: 2017/07/31
    ジャーナル フリー
  • ─映画Underground(1928)における「普通の人びと」
    松原 栄子
    ヴァージニア・ウルフ研究
    2019年 36 巻 39-55
    発行日: 2019年
    公開日: 2020/10/31
    ジャーナル フリー
  • 19世紀中葉のガーナにおけるメソジスト宣教団の活動に関する考察
    渡辺 和仁
    アフリカ研究
    1999年 1999 巻 54 号 19-34
    発行日: 1999/03/20
    公開日: 2010/04/30
    ジャーナル フリー
    Since the early 19th century, a number of Africans have come to select Christianity instead of, or in addition to, their existent religions. European missions intended for proselytizing Christianity in Africa also meant the introduction of educational, technological and medical advances to the continent, thus contributing to the high number of African converts. But it is insufficient to interpret the reasons behind those conversions merely from these materialistic aspects. We need to consider another aspect of conversion-one of spontaneity.
    Historian Richard Gray has researched an African appropriation of the European Christian doctrine. He states that accompanying Europe's accelerated scramble to colonize sub-Saharan Africa, disillusioned black Africans grew skeptical of a “white” sermon, and thus developed their own interpretation of Christianity. This “appropriation” of Christianity for Africans in turn succeeded to encourage more conversions.
    In contrast, Gray regards those black Christians who converted before full-scale colonization as men of curiosity, or as slaves protected by the missionaries. Thus, he considers their conversions irregular from the view of appropriation. This paper, however, which focuses on the activities of the Wesleyan Methodist Missionary Society in mid-19th century Ghana and concentrates especially on the conversions of dependents called “pawns, ” aims to delineate their conversions also in terms of an appropriation of Christianity.
    In 19th century Ghana, a black dependent classified as a “pawn”-which meant a pledge of a debt-had a means to emancipate himself from his violent master. He could be redeemed by an influential person, and thereby removed from his bad situation. Therefore these dependents (occasionally with success) tried to influence the “rich” missionaries, who had been instructed by their headquarters not to have anything to do with slavery, to engage in redeeming “pawns”. In short, the pawn people were able to change their original, i. e. religious, relations with the missionaries.
    Thus this paper looks to widen the interpretation of “appropriated Christianity”, from a religious meaning to a practical one as well, and the attempt to grasp African conversion from one historical view will be successful.
  • 徳永 恭子
    ドイツ文学
    2018年 156 巻 219-223
    発行日: 2018年
    公開日: 2019/03/31
    ジャーナル フリー
  • 岡﨑 ほのか, 元岡 展久
    日本建築学会技術報告集
    2024年 30 巻 74 号 456-461
    発行日: 2024/02/20
    公開日: 2024/02/20
    ジャーナル フリー

    Yuzo MIKAMI (1931-2020) is chosen as a subject of the analysis to clarify MIKAMI’s design thought in the context of “new reinforced concrete construction technology” as it appeared in contemporary architecture. This paper focuses on the early stages of his career and works in London, where he lived from 1962 to 1968. He worked in the agency of Ove Arup and Partners for six years and developed good relationships with the engineers. He was in charge of more than 20 works, including Sydney Opera House. These works have three distinct characteristics: civil engineering buildings, projects in Africa, and precast concrete.

  • 展示室でダンスは踊れるか
    島津 京
    舞踊學
    2008年 2008 巻 31 号 73-78
    発行日: 2008年
    公開日: 2010/04/30
    ジャーナル フリー
  • 舞踊學
    1980年 1980 巻 3 号 26-36
    発行日: 1980年
    公開日: 2010/04/30
    ジャーナル フリー
  • 重力の身体感性論を通じて
    片山 俊宏
    美学
    2020年 71 巻 2 号 25-36
    発行日: 2020年
    公開日: 2023/02/06
    ジャーナル フリー
    The Okada Sitting Method (OSM), which became popular in the Meiji and Taisho periods, is a breathing therapy to cultivate the personality of symbiosis. This study explores the internal experience of the process through physical insights into the theory of gravity. In the OSM, a low center of gravity requires the body to be tilted to the ground and inflected from the ground to the whole body. Practitioners can feel a passive sensation in which tension and relaxation increase in the abdomen and breathing naturally deepens. They can discern that breathing is affected by gravity, both in terms of the physiological activity of the lungs and the muscle movement of the throat. This point of view is related to the Earth’s atmospheric space. The Earth draws countless materials downward, forms large masses, activates a powerful reaction, and composes rain and other atmospheric phenomena. Additionally, countless materials in the Earth form chains of movement and recoil from each other, creating heat and providing fertile qualities to the Earth. This series of dynamics creates an environmental order that nurtures flora and fauna, constituting a spatial foundation that supports the practitioner’s breathing. This leads to the assumption that breath and life are rooted in gravity and “breathing” of the earth.
  • J. デューイを手掛かりに
    木場 裕紀
    舞踊學
    2016年 2016 巻 39 号 1-8
    発行日: 2016年
    公開日: 2018/11/12
    ジャーナル オープンアクセス
  • 大迫 知佳子
    音楽学
    2015年 60 巻 2 号 142-153
    発行日: 2015/03/25
    公開日: 2017/04/03
    ジャーナル フリー
    Jerome-Joseph de Momigny (1762-1842) et Francois-Joseph Fetis (1784-1871) sont deux theoriciens beiges qui vecurent au XIX^e siecle. La plupart des recherches concernant le rapport entre leurs theories de l'harmonie se sont particulierement concentrees sur la proximite des theories de ces compatriotes par rapport au concept de la tonalite. S'attarder sur les differences des idees sur lesquelles leurs theories se fondent, cependant, merite aussi de toute evidence une analyse approfondie puisque celui-ci a vise a creer la theorie originale independante du principe scientifique de Momigny. L'objectif de nos recherches est de re-envisager les rapports qui ont ete etablis entre les theories de l'harmonie de Momigny et de Fetis, et de considerer en quoi elles different l'une de l'autre du point de vue des sciences naturelles. Dans cette perspective, nous pourrions investiguer la facon dont les theoriciens francophones, au XIX^e siecle, ont prepare le terrain pour l'etablissement des theories modernes. Afin d'atteindre cet objectif, notre article se divisera en deux etapes distinctes. Premierement, les rapports entre la theorie de l'harmonie de Momigny et celle de Fetis seront examines a travers une analyse detaillee de leurs ouvrages. Deuxiemement, seront decrites les critiques de plusieurs theoriciens contemporains ayant un rapport avec les deux theories susmentionnees. La theorie de Momigny est inspiree des sciences naturelles et explique les systemes harmoniques au moyen des lois universelles. La theorie de Fetis, au contraire, ne se base pas sur les sciences naturelles, mais soutient que les theories y ayant trait doivent tenir compte de l'arriere-fond historique, national, et culturel. Il est probable qu'un des tournants dans l'histoire de la theorie musicale peut etre trouve entre les deux theories.
  • ドラポー資料のモントリオール地下鉄ルート策定の経緯を事例として
    椚座 基道, 五十嵐 太郎, 市川 紘司
    日本建築学会計画系論文集
    2024年 89 巻 817 号 587-596
    発行日: 2024/03/01
    公開日: 2024/03/01
    ジャーナル フリー

    By focusing on the discussions, remaining in Fonds Jean Drapeau, on the development of the Montreal metro route, this paper shows 3 things.

    1. The metro was not initially included in the urban renewal vision of Jean Drapeau, mayor of Montreal.

    2. The metro was recognized as an important role not only on linking and developing suburbs as an “miniature metropolis” and but also expanding the downtown area.

    3. The metro project promotes to encourage speculation in urban renewal and to modernize the city and establish it as a world city.

  • 髙野 美和子
    運動とスポーツの科学
    2022年 27 巻 2 号 83-94
    発行日: 2022/03/20
    公開日: 2022/03/31
    ジャーナル フリー

    This study aimed to clarify the thinking of Takaya Eguchi—the architect of modern dance theory in Japan—regarding post-modern-dance, that emerged from the 1950s to the 1970s, re-examining Eguchi’s dance view from a post-modern-dance perspective.

    As for the research method, I examined Takaya Eguchi’s books, writing materials, criticisms of Eguchi’s works, and previous research, and interviewed his disciples, postmodern dancers, and dance critics.

    The results of the study identified the following four points: (1) Eguchi expressed his understanding of the post-modern dance of Cunningham and Cage in that they danced with their trained bodies, but he had difficulty accepting the fact that there was a strong element of improvisation and that the composition was not elaborated. (2) Against dance with the characteristics of postmodern dance represented by the members of the Judson Church, Eguchi took a critical view because of dance forms ignoring the fundamental axioms of dance works, regarding them as lacking expression, and movement along dance themes, and dance training, as well as being “dance without dancing”; (3) Rather than meta-level projects that questioned the very nature of dance works, overturning his modern dance theory as postmodern dance did, the dance that Eguchi aspired to from the 1950s to the 1970s was dance at an objective level, creating and pursuing new movement and expression strictly within the category of “dance works”; and (4) It is possible to surmise that the emergence of post-modern-dance made Eguchi even more firmly aware of the dance view to which he himself aspired—that is to say, modern dance—while innovative is a dance form that refines unique movement and composition based on dance’s aesthetic principles in order to express a theme through dancing performed by well-trained bodies.

  • コンタクト・ゴンゾ『訓練されていない素人のための振付コンセプト』3部作を巡って
    越智 雄磨
    舞踊學
    2020年 2020 巻 43 号 1-14
    発行日: 2020年
    公開日: 2022/04/25
    ジャーナル オープンアクセス
    This study seeks to understand the significance and specifics of Choreography Concept for Untrained Amateurs 001/002/003 written and performed by contact Gonzo, a Japanese performance group. The piece was first staged at the Toyota Choreography Award in 2014. This work consists of concepts and instruction for the performers to actualize the choreography for themselves and the spectators. Each part of the work focuses on the following three elements: “weight,” “speed,” and “angles.” While few studies have assessed how this piece amplifies the notion of choreography, there have been fewer studies on its aesthetic value. This study focuses on both the aspects. Therefore, comparing this piece to similar or opposite examples in history of dance, this study proposes the following five analytical frameworks: 1. work and unwork, 2. task as choreography, 3. practice of “against interpretation”, 4. activating kinesthesia, and 5. attitude as amateur. The study then compares the results of these analyses to Michel Foucault’s concept of the “disciplined bodies,” and attempts to extend the concept of the “antibody” originally proposed by French philosopher Michel Bernard. Finally, this study discusses how the body emerges as the “antibody” through contact Gonzo’s performance. The “antibody” imbodies two meanings: attitude toward the body that normally suffers from modernity, and an illness of modernity.
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