JSTの最近のニュースから

【イベント開催】パリで開催された「日本再生展」で科学技術を生かした震災復興の取り組みが紹介されました

【報告書発表】全国約1,000校を対象にした小学校理科教育実態調査の報告書を発表

【新事業開始】最先端設備の共同利用を促進する「ナノテクノロジープラットフォーム」事業がスタート

【研究成果】微生物が金属微粒子を「電線」にして互いに電子をやり取りする「電気共生」現象を発見

【研究成果】空気中の物質を鋭敏に感知して発光するフィルム（有機／金属ハイブリッドポリマー）を開発

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The purpose of this article are to trace up the history of urban design in Florence of Renaissance era, to see how this urban design was introduced to Paris, and to depict the beginning of urban design in Paris. An axis, which connected SS. Annunziata-Santa Maria del Fore-Palazzo Vecchio-Palazzo Uffici, was also established there. Marie de Medicis, a grand daughter of Casimo 1, made the Palais du Luxembourg and the Cours de la Reine introducing those Italian designs to Paris. Colbert, Le-Notre and the Commisiion des Artistes were the successors of her design. They made the axis and urban designs of Avenue des Champs-Eysees and Avenue de Observatoire, making use of Marie's heritages.

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In this study, we sampled 45 cases of perspective landscapes, composed of vistas of monumental buildings in Paris and, based on the findings of a measurement survey, verified their characteristics using indices for landscape analysis. In addition, we examined the characteristics of the areas where, and the times when, many of those buildings were built. The results revealed the following: monumental buildings, which may play the role of an eyestop, look too large and their sight distance too short to view from an open space spreading to the fore; thus, when one steps away from the open space and views a monumental building from a road with a vista, its size looks better, giving a nice, pleasing view; none of the roads with a vista landscape looks too far extended that one would have trouble identifying eyestops; vista-induced effects help sharpen the sense of eyestop presence in the distance; many cases are observed in the western suburbs of Paris; most of the buildings were built in the nineteenth century;and the composition of these vista-eyestops is applied not only to wide streets but also to ordinary streets, contributing to the formation of intimate street spaces that is considered to be the charm of Paris.

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The role of the river which has an exaggerated space in city development is an important element showing regionality. Attractive planning of River Space is important thing for raise the identity of the city and city life with the amenity. In this study (1) Target at various river space from High-profile international city. (2) To devise expression in semiotic of the morphological characteristics in river space. (3) Shows the Model at composition of each river space and performed the analysis and classification. (4) Analysis of the morphological characteristic and sequence constitution and showed the changing point of the space. (5) Showing the morphological characteristics of each target to extract the patterns and their patterns of occurrence for each element.

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Saint Genevieve Keeping Watch over Sleeping Paris by Pierre Puvis de Chavannes (1824-98), one of the mural paintings of the Pantheon in 1898, is known to be his masterpiece. This oeuvre has been interpreted in various ways, but the relationship between this and his other paintings in the Pantheon is often ignored. So, it is necessary to analyze it in relation to other murals, especially his triptych, Saint Genevieve Provisioning Paris, which is to its left. This thesis focuses on the point that Puvis constructed not only the connection but also the contrast between the triptych and Saint Genevieve Keeping Watch over Sleeping Paris. In the former, he aimed to express the movement of a crowd and explicitly presented the story of the saint, who saved Paris, which was under siege by the Franks, from starvation. By comparison with it, in the latter, he made a calm, tranquil composition, deleting the motives for explaining the war or the famine. This paper reveals the source and the process of making this contrast, and shows that in it he can represent the saint's two different aspects.

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現代において、 フランスはどのように自らの共同体のアイデンティティを作ろうとしているのか、またそれを可視化するためにどのようにシンボルが使おうとしているのかを、歴史学者ノラの「記憶の場」の概念も援用しながら分析する。マ クロンは、EU の一体化を訴えることでヨーロッパのアイデンティティを再建し、その中でこそフランスのアイデンティティを示そうとするが、それはヨーロッパが自由、デモクラシー、人権といった世界のモデルになりえる普遍的な価値を体 現しているという啓蒙以来の観念と結びついている。しかしながら、難民受け入れ問題がヨーロッパ各国で、極右によるナショナリズムの擡頭を招いている今、この様な普遍理念によるヨーロッパのアイデンティティは既に自明なものではなくなっている。その中で、敢えてヨーロッパ再建を主張するとき、マクロンは民主主義発祥の地アテネやソルボンヌ大学といった、人々の共通の「記憶の場」である、文化遺産の力の助けを借りる。「記憶の場」は、ルソーの言う「祝祭空間」とも共通し、人々の一体感を高め、アイデンティティを確証するために役立つと考えられるからではないだろうか。

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If the "Classical Image" of French imperialism as defined by LENIN requires re-examination and if it also reflects characteristics of French capitalism, then studies of the foreign policy of France toward China and the great undertaking of the Banque Industrielle de Chine realized by the BERTHELOT brothers are, in this respect, signifieant and suggestive. The serious tentatives of Chinese modernization begun in 1895, gave the world Powers a golden opportunity to penetrate with their political, financial and economic power. Compared with its rivals, France who, since the end of the 1850's, pursued an expansionist policy in Asia, hardly possessed favorable factors. Her financial force, the accumulation of capital, considered as the only arm(as the last resort) had to be exploited to make up for her weaknesses. Philippe BERTHELOT, director of the Asian section of the Foreign Office, hit on the idea of creating an "ldeal" bank -a Franco-Chinese bank-, and asked the "Banque de l'Indochine", a quasi-national bank, to realize his plan. However this bank, which had been under the control of five big banks in Paris strongly objected. It was Andre BERTHELOT, ex-deputy and agent of Baron EMPAIN, that in 1913, carried out his brother's plan. Should we call such a policy which crystallised into the Banque Industrielle de Chine "Bank Imperialism" or "Financial Imperialism"?

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「写真の進歩」は，毎年一度時期を決めて前年一年間の写真技術の動きを振り返ることにより，日々進歩を続ける写真技術の全体像を時系列的に俯瞰することを狙いとして，継続的に取り組んでいる企画です．
執筆陣は，技術委員会傘下の各研究会の代表者を中心に，それ以外の識者も加えた各分野の専門家により構成されています．各執筆者は担当の分野に応じた観点から，主として前年一年間に発表された技術（文献），製品，作品，統計等について，可能な限りその特徴・傾向・分析などのコメントを加えつつ紹介します．なお具体的な内容については各執筆者の意向を尊重しています．
例年の「写真の進歩」は，写真学会ホームページ（http://www.spstj.org/）の「学会誌からのトピックス」（http://www.spstj.org/book/pickups.html）にも掲載されていますのでご利用下さい．

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