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  • 豊田 浩志
    西洋古典学研究
    1991年 39 巻 92-101
    発行日: 1991/03/26
    公開日: 2017/05/23
    ジャーナル フリー
    Eusebius, bishop of Caesarea in Palestine, is called the 'Father of Ecclesiastical History,' and rightly so His most important work, Historia Ecclesiastica (= HE) is an extremely rich collection of historical documents, quotations, and extracts from a multitude of early Cnurch writings HE can thus be called a monumental achievement of early Christian literature There are many doubts, however, as to the authenticity of Eusebius' sources A serious drawback to his reliability as a historian is the loose and uncritical way he handles his materials But this criticism has too commonly resulted in an excessive depreciation of his great contribution and has tended to obscure its true merits Even with due allowance made for such faults, the objective merit and value of his HE should be duly acknowledged and appreciated In his HE, Eusebius usually allows his quotations to speak for themselves He does his best to collect testimonies from writers who lived at the time of the events which he describes In such cases, we might safely suspect that the quotations or extracts are based on some pre-existing text and that their historical authenticity is remarkable Cases in which he relies only on oral tradition are more problematic, but so far, such cases have tended to be greatly underestimated by many scholars and have been regarded as in- authentic Having carefully reexamined Eusebius' HE, I suggest the following two points First, in HE, he creates a personal style the quotations are often preceded by introductions or paraphrases I would like to emphasize especially the importance of cases where he writes an anonymously introduced narrativefollowed by a quotation or brief summary, such paraphrase almost always being derived from a quotation from his main source If so, it is not necessary for us to question the historical authenticity of the anonymous narrative Second, this paper analyzes two typical formulae which Eusebius uses to introduce oral traditions in HE <katechei logos> (it is recorded) and <logos echei> (tradition says), and reconsiders the authenticity of Eusebius' sources Detailed examination of the 10 volumes of the HE shows that Eusebius uses these introductory formulae 24 times, all of which are found in the first 8 volumes Moreover, 17 of these 24 cases are accompanied by another verb Indeed, no doubt exists that 16 of the 17 supposedly reflect the existence of some documental authority In 5 of the remaining 7 cases, a similar conclusion can be drawn Thus, Eusebius' use of such typical introductory formulae suggests that, for the most part, his statements are based directly on written sources even if they seem to be presented in the form of oral tradition It can safely be said that he very seldom worked without some authentic source
  • 吉川 定義, 松田 博利, 太田 仁啓
    テレビジョン学会全国大会講演予稿集
    1977年 13 巻
    発行日: 1977/07/01
    公開日: 2017/10/02
    会議録・要旨集 フリー
  • 背戸 一登
    日本機械学会誌
    1996年 99 巻 931 号 460-464
    発行日: 1996/06/05
    公開日: 2017/06/21
    解説誌・一般情報誌 フリー
  • ローマ、フォルトゥーナ・ヴィリーレ 神殿あるいはサンタ・マリア・デ・セクンディチェリオ聖堂壁画(八七二年─八八二年)
    桑原 夏子
    美学
    2017年 68 巻 2 号 25-
    発行日: 2017年
    公開日: 2019/01/02
    ジャーナル オープンアクセス
    My paper shows one of the textual sources for the wall painting of the temple of Fortuna Virile (the church of Santa Maria di Secundicerio) (Italy, Rome, 872-882) which presents the Marian cycle with her last days, the story of St. Basil and the story of Mary of Egypt. This is the oldest example, which presents the Last Days of the Virgin Mary - the Annunciation of the Death of the Virgin by Christ, the Departure of the Apostles, and the Arrival of the Apostles - therefore it is important to discover its textual source. First of all, I point out that one of the Apostles is departing from his grave to attend Mary’s death in the scene of the Departure of the Apostles. Secondly, I indicate that this unique episode is found in a Greek text, which is written by pseudo St. John in the early 6th century. All stories of this temple are based on the Greek texts, therefore this wall painting might suggest the lost Greek visual culture has been persecuted by iconoclasm in the Byzantine Empire.
  • ゴムと金属の接着に関する研究 (第2報)
    西本 秀雄, 松島 秀典
    日本ゴム協会誌
    1974年 47 巻 2 号 98-103
    発行日: 1974/02/15
    公開日: 2009/10/16
    ジャーナル フリー
    前報において拡散法黄銅メッキはシアン浴黄銅メッキに比べて接着性は極めて低く, また拡散法黄銅メッキ, シアン浴黄銅メッキを問わず伸線加工したものはいづれも接着性は高くなり, 拡散法黄銅メッキの場合にその効果が著じるしいという結果を得たが, これに基づき本報では, 基礎配合ゴムと拡散法黄銅メッキについて拡散条件, 伸線加工条件と接着性及びメッキ構造と接着性に関して検討した結果, 拡散法黄銅メッキはシアン浴黄銅メッキに比べてメッキしたままでは不活性であるが, 伸線加工によって遊離の銅原子からなる結晶粒子の細分化が起こり活性化して接着能が高まり, 更に活性化した銅の結晶粒子の数は拡散時間に対してガウスの誤差曲線に従がう分布をなすことを認めた.
    τ=τm exp {-k (t-tm) 2}
    ただしτは接着力, tは拡散時間, τmは最高接着力, tmはτmを与える拡散時間である.
    また, 最高接着力は拡散温度が500℃前後で急激な変化を示すことが明らかにされた.
  • 篠崎 三男
    史学雑誌
    1992年 101 巻 5 号 954-959
    発行日: 1992/05/20
    公開日: 2017/11/29
    ジャーナル フリー
  • 岡田 匡史
    美術教育学:美術科教育学会誌
    2006年 27 巻 67-78
    発行日: 2006/03/31
    公開日: 2017/06/12
    ジャーナル フリー
    本稿では,学習指導要領にもある1課題:"異文化理解"を踏まえながら,西洋絵画,しかも日本人一般にとり近づきがたく解しがたくもある宗教画(主には祭壇画)を敢えて採り上げ,その理解と堪能を旨とする鑑賞指導メソッドを提起しようと試みる。その際,参照・応用したのが,聖書研究上,不可欠となる「語句の引照方式」である。絵は色・形を初め,図像や説話や人のポーズ・配し方などいろいろな内容を含んでおり,それらを共通項として絵と絵を繋ぐ(インターネット的に言うとリンクする),そのことをコンコーダンスと呼ぶ。当過程を経る内,知識・理解のネットワークが形成され,西洋に特有の宗教画的系譜が次第に掴め出すのを狙う。7作例を選び,メソッドの記述を中心とする。コンコーダンスと言っても,徒に糸を張り巡らすようでなく,全体を貫く主題を「数」と定め,そこを通奏低音として個々より腕が伸び出で,個々へ腕が伸び入るという,絵と絵の相互参照的ネットを構築しうる鑑賞を目指す。
  • AからNまで
    池添 博彦
    帯広大谷短期大学紀要
    2006年 43 巻 97-111
    発行日: 2006/03/31
    公開日: 2017/06/16
    ジャーナル フリー
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