The Research Project which consists of the production staff of NHK's preschoolers's TV series "Okaasan to Issho (With Mother)," researchers of the NHK Broadcasting Culture Research Institute and university professors has undertaken multi-faceted efforts to study and develop new TV programs for small children, especially for 2-year-olds since 1978. One of the main purposes of our study in 1986 was to develop a new animation series, whose target audience could be 2-year-old children, as a part of "With Mother." The main character in the animation should represent a typical personality or behavioral style among small children such as untidy or bully child and this characteristic should be clearly brought out during the minute-or-two duration of the story. The purpose of this series is to let small children learn a lesson from this by watching the television which is continuously depicting a character behaving just like themselves. An experiment was conducted in March 1986 to examine the degree of attention and understanding of the two experimental animation programs, "Yadamon (the Hard-to-Please Child)" and "Tazura (the Mischievous Child)" by small children; 50 2-year-olds and 46 4 -year-olds. The experiment was conducted on each child with his (her) mother present in a viewing room, and each child watching TV was videotaped from two cameras. The following reactions were recorded second by second by using a Time Series Analyzer: attention reaction to the experimental programs, language reaction and smile reaction. After the child watched the experimental programs, a researcher asked the child several questions to analyze the child's understanding of the story: recognizing the main character, spontaneous recall of the program content, recalling sequences with photographs, etc. The attention rating of "Yadamon" and "Tazura" was high from the beginning till the end for both the 2-and 4-year-olds; however, results of the test after viewing showed that story seemed a little difficult especially for 2-year-olds. Further surveys were conducted successively in November 1986 and February 1987, to find out if 2-year-olds could really enjoy and get the message after several-month-repeatedly viewing, from this new animation series, which was finally entitled "Konna ko iru kana (Kids Like Us)"-six characters (including revised "Yadamon" and "Tazura") × six stories-and broadcast since September 1986. Another main purposes of the experiment in 1986 was to compare the reactions of small Japanese children watching the original English version of "Sesame Street" and the one dubbed in Japanese. The experiment was conducted under the same procedures already described. After discussing several skits used in "Sesame Street" which had been sent from Children's Television Workshop, we selected a 2-minute-30-second muppet skit, 'At the Movie Theater.' Our assumption was that small children who have not yet learned enough Japanese would pay attention to both English and Japanese versions of the program equally, but those who are more advanced in Japanese would show a higher attention rating to the Japanese version. The attention rating for both the 2-and 4-year-olds for the Japanese and English versions has a similar curve. The attention rating for the climax rises with every age bracket watching Japanese version, whereas their attention rating for the English version decreases. With the 4-year-olds, there is a big difference in the attention rating between the English and Japanese versions in sequences where the important dialogue for understanding of the story 'At the Movie Theater' is concentrated. The countries of the world have high hopes for top quality children's programs and more and more effort will be put into international co-productions

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本稿では,ベケット作品の翻案,Animation三部作等により,1970年代アメリカの前衛演劇史上伝説的な足跡を記した演出・劇作家リー・ブルーアーの最新作The Warrior Antの,1988年ニューヨーク公演を上演テクストとして,アリストテレスの叙事詩の定義,ブレヒトのEpic Theatre,文楽についてのロラン・バルトの言説を引き合いに検証し,特にそのnarrativeの様相を分析する。これにより,神話生成的な観点が,80年代の演劇人達に演劇をジャンルとして引き留める枠組として求められた必然性も確認できると考えられる。また,様々な概念や文化的記号の引用やパロディが,高級・低級,聖・俗,古典・現代の別を問わず,まさに無分別に,言語及び意味レヴェルにおいて,また視覚的,聴覚的に羅列され,これらの既製イメージの衝突により,さらなるイメージが喚起され,意味の生成,解体が繰り広げられるという特徴をもつこの作品の意義を,ポストモダニズム,インターカルチュラリズムという視点から,80年代アメリカ前衛演劇の文脈において考察し,位置づけを試みた。

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The behaviour of the occurrence of color in a loop pile carpet is still unknown hitherto.
This study has investigated the color of nylon BCF loop pile carpet and lateral side of pile yarn by using a variety of colorimeters.
The main results obtained are as follows :
1) To measure the color, the area to be measured should be varied according to the aim of measurement.
2) To give the color to loop pile carpet, the relationship should be clarified between chromaticity point (x, y) and the Y-values of lateral side of yarn and loop pile carpet.
3) The color of a color-mixed loop pile carpet shows the weighted average of chromaticity point of each monochrome or fundamental color. in addinion, the Y-value of loop pile carpet shows the average Y-value of each monochrome of loop pile carpet.
4) The colorimetry of bright portion (top of the loop) and dark portion (bottom between two loops) has shown the remarkable color difference between bright and dark portion. (ΔE∗ab_??_30)
5) The loop pile carpet tends to be more affected by the color of the light source with increasing the incidence-receiving angle.

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This paper reports the semiotic factors which are useful in choosing the teaching materials from movies suitable for students in English classes. The main concept of the factors is postulated as the 'understandability' of the movies by analogy with the 'readability' of the linguistic texts. In order to compare the verbal expressions of the texts with the scipts of the movies, readability scores are calculated from several versions of 'Alice's Adventures in Wonderland', which is often cited in English texts for Japanese students. In addition to finding some characteristics of the expressions of the movies on the basis of these readability scores, it is assumed that the original characteristics of the movies are the very pictures, and their space, time and cohesive sequences. In conclusion, these factors should be taken into consideration in applying the movies as teaching materials in EFL classroom setting.

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本研究は、表出手段に著しい制限があり、現時点で有効な伝達行動を持たない脳性まひ児に対して、選択行動としてのeye pointingを形成するためのプログラムを作成し、その有効性を検討することを目的とした。最初に、(1)運動まひや話し言葉の障害が重度な脳性まひ児であっても随意性が保たれる眼球運動を活用する、(2)言語理解の発達が初期段階にある脳性まひ幼児にも適応可能である、(3)実施手続きと評価基準を明確にする、の3点を考慮し、eye pointingによる選択行動を形成するプログラムを作成した。次に、表出手段の著しい制限という点では同様であるが、コミュニケーション発達の段階の異なる3名の脳性まひ幼児に対し、プログラムのステージ1〜3を実施した。提示刺激としてステージ1では玩具の入った箱をターゲット、白い箱をダミーとして用いた。ステージ2では玩具の写真をターゲット、白紙カードをダミーに用いた。ステージ3ではターゲット、ダミーともに写真を用いた。その結果、以下の点について、本プログラムの有効性が明らかにされた。1.本プログラムを実施した結果、2名の対象児はステージ2においてeye pointingを用いてターゲットを選択することが可能となり、1名の対象児はステージ3においてeye pointingを用いてターゲットを選択することが可能となった。この結果は、本プログラムがeye pointingによる選択行動の形成に有効であることを示している。2.いずれの対象児においても、指導手続きを繰り返すことによって、eye pointingによる選択行動出現までの潜時は短縮し、目的に合わない視線の動きは減少していった。上記の結果と考え合わせるとこの結果は、本プログラムの実施がeye pointingの機能性を高めたことを示している。本プログラムの実施により、3名の対象児は、2つの提示刺激のうちどちらかを注視すればそれが与えられるという場面において、eye pointingを用いた選択行動を獲得した。これは、本プログラムの構造と実施手続きが、対象児の現時点での発達段階に合致したことによると考えられる。今後は、本プログラムを要求行動の形成やシンボルによる表出までを目指した階層性のある系統的なものとして発展させる必要がある。

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The purpose of this research is to clarify the effectiveness of introducing "the dramatic activity" into the music learning by the student of the muscular dystrophy. It decreases that the high school student that the symptom of the muscular dystrophy gets worse can do it by oneself. Therefore, that the activity to pursue the completeness of the performance to "make a constant frequency timbre and a sound physically and arrange them well in terms of time," such as "singing a song", "playing a musical instrument" and "dancing" is the music learning which is desirable really for them is a problem. Then, the author thought that the student of muscular dystrophy tries to discover an expression method to be able to make use of "their power of expression" in by oneself or pursue the possibility from the learning process by introducing "the dramatic activity" to the music learning and he set a scene.

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開局60年を迎えた教育テレビの番組の変遷をグループ分けして網羅的に見ていく「シリーズ 教育テレビ60年」。3回目は「青少年向け番組」「文化・教養番組」「芸術・芸能番組」「産業・経済番組」「科学・健康番組」「高齢者向け・福祉番組」「報道番組・その他の番組」の7グループをみていく。「青少年向け番組」は、「幼児向け番組」とともに、1980年代までは総合テレビでの放送が中心であったが、90年代にゾーン編成が取り入れられた後に　番組数を増やしていった。「文化・教養番組」は、『日曜美術館』や『こころの時間』などの長年続く番組に加えて、「教育教養講座」のシリーズ番組が終了した2010年代以後、多種多様な番組を放送している。「芸術・芸能番組」「産業・経済番組」「科学・健康番組」は開局当初から、総合テレビとは異なるタイプの番組が放送されてきた。そして90年代以後、高齢化社会を迎えるとともに、福祉や多様性が日本社会全体の大きな課題となる中、番組数・放送時間を増やしてきたのが「高齢者向け・福祉番組」である。また教育テレビならではの「報道番組・その他の番組」も時代に対応して放送してきた。それぞれのグループの番組の変遷をみるとともに、シリーズのまとめとして、教育テレビに特徴的な番組と編成、ウェブなどへの展開について整理をして、今後の生涯学習社会に果たす役割を考える。

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