全文: "渡辺えり"
14件中 1-14の結果を表示しています
  • 演劇学論集 日本演劇学会紀要
    2005年 43 巻 M1-M3
    発行日: 2005/10/01
    公開日: 2018/12/14
    ジャーナル フリー
  • 由紀 草一
    演劇学論集 日本演劇学会紀要
    2005年 43 巻 97-114
    発行日: 2005/10/01
    公開日: 2018/12/14
    ジャーナル フリー

    The 1980s were the time when “history” came to an end and “narrative” was deconstructed. Writers did not rely on the unity of plot or character but expressed themselves through the rearrangement of fragmented scenes. Watanabe Eriko's drama is an example of such an attempt.

  • 島田 美樹, 吉成 浩一, 藤田 健一, 渡辺 えり子, 白神 歳文, 岩崎 一秀, 永田 清, 山添 康
    1998年 13 巻 supplement 号 88-89
    発行日: 1998/10/23
    公開日: 2007/03/29
    ジャーナル フリー
    Two sulfotransferase (ST) cDNAs encoding amine ST-RB1 and -RB2 (AST-RB1 and AST-RB2) have been isolated by immunoscreening of a rat liver cDNA library. The sequence of AST-RB1 had less than 38% identity at the amino acid level with cytosolic STs in mammals and suggested that AST-RB1, arbitarily named ST3A1, constituted a new and third gene family of cytosolic ST. ST3A1 expressed in Escherichia coli catalyzed N-sulfation of amines, but barely O-sulfation of typical substrates for aryl and hydroxysteroid ST. AST-RB-2, arbitarily named ST2A8, was included in a subfamily of hydroxysteroid ST (ST2A) and showed high catalytic activities not only to hydroxysteroids but also to amines. However, N-sulfation of amines in rabbit was mainly catalyzed by ST3A1 rather than by ST2A8 judging from those Km values. On the contrary, ST included in ST3A subfamily was not identified inhuman and rat livers. Instead of ST3A from, ST2A form is likely to contribute the N-sulfation of amines in rats and humans. We further performed to identify for sulfating activities by recombinant enzymes. In addition, to clarify contribution for sulfating activity of the specific substrate, we compared sulfating activity of individual substrates and content of each form in human livers. As results, substrate specificities of individual STs were identified in human livers.
  • 嶋田 直哉
    2011年 60 巻 11 号 64-73
    発行日: 2011/11/10
    公開日: 2017/05/19
    ジャーナル フリー

    岡田利規『三月の5日間』(初演 二〇〇四・二)はイラク戦争を背景としながら渋谷のラブホテルの一室を舞台に展開する戯曲である。が、物語は単線的に進まずイラクでの戦争と渋谷のラブホテルの一室と「セカイ系」の宇宙が強引なまでに並置され、それらが収拾しがたく拡散している。また身体と言葉は対等の関係を持ち、それぞれが個別に過剰さを増すため、身体は無化されてしまう。このような構図から導かれる「ユルさ」こそ岡田の戦略であり、また迂回しながら社会と関わろうとするアクチュアルな姿勢を認めることができる。

  • 赤井 純治
    2008年 57 巻 63-67
    発行日: 2008/03/20
    公開日: 2018/03/29
    ジャーナル フリー
  • 渡辺 えり代
    2013年 44 巻 2 号 125-132
    発行日: 2013/03/25
    公開日: 2017/10/11
    ジャーナル フリー


  • 平澤 信一
    2016年 95 巻 136-142
    発行日: 2016/11/15
    公開日: 2017/11/15
    ジャーナル フリー
  • 薛 音歓
    1996年 46 巻 2 号 131-137
    発行日: 1996/03/01
    公開日: 2009/10/15
    ジャーナル フリー
    ニワトリ中枢神経系からmRNAを抽出し, 発生段階における抑制性グリシン受容体の発現の変化を解析した。胎齢10日及び20日の脊髄mRNA, 胎齢10日, 20日及び生後10日の脳mRNAを注入したアフリカツメガエル卵母細胞では, グリシンによる膜電流応答は検出されなかった.これに対し, 生後10日及び20日の脊髄mRNAを打ち込んだ卵では弱いグリシン応答が記録された.ラットよりのグリシン受容体α2サブユニットcDNA断片をプローブとしてノーザンブロット解析すると, 各年齢の脊髄及び脳由来のmRNAからシグナルは検出できなかったが, 同じプローブを用いてサザンブロットすると, ニワトリのゲノムDNAからプローブと反応するDNA断片が検出された.このことから, ニワトリ中枢神経系では, グリシン受容体α2サブユニット類似転写産物は遺伝情報として存在するものの発現していないと結論した.これらの結果から, 鳥類中枢神経系におけるグリシン受容体の発現機構は, 哺乳類中枢神経系とは異なっていることが示唆された.
  • 白石 剛, 佐藤 祐司, 牧嶋 和見
    1998年 101 巻 12 号 1380-1384
    発行日: 1998/12/20
    公開日: 2008/03/19
    ジャーナル フリー
    平成2年より平成9年5月までの当科における突発性難聴症例を対象とし,高気圧酸素療法〔高気圧酸素治療(HBO),星状神経節ブロック(SGB),ビタミンB群(メチコバール1500μg,ビタメジンS 3cap)〕と循環改善剤(カルナクリン3Tab)の内服の併用療法を施行したHBO群119例と,それ以前の高気圧酸素療法を施行していない対照群107例における治療成績を比較検討した.その結果,HBO群は対照群に比べて総括的な聴力回復が良好で,高気圧酸素治療の有効性を認めた.また突発性難聴の予後に関連する要因を含んだ症例たとえば高度難聴や治療開始の遅れた症例や他の治療に抵抗性の症例に対して,HBO群の方が対照群より良好な成績が得られ,高気圧酸素治療の有効性が期待された.
  • 稲山 玲
    2016年 16 巻 1 号 1-16
    発行日: 2016年
    公開日: 2017/04/03
    ジャーナル フリー
    This paper aimed to explain the transition of Hideki Noda’s style through the analysis of Hideki Noda’s A Midsummer Night’s Dream in 1992, an adaptation of Shakespeare’s A Midsummer Night’s Dream. Noda has been an active playwright, director, and actor from the 1980s. Previous studies have indicated that Noda changed his style when he dissolved his theatre company, Yume no Yuminsha. Hideki Noda’s A Midsummer Night’s Dream was produced three months before the dissolution of the company. Noda reconstructed the Shakespearean original, altering it in two major aspects. First, Noda’s version was set in Japan. Second, Mephistopheles, the demon of Goethe’s Faust, made an appearance in the play. Mephistopheles contributed catastrophic aspects to the play, creating an episode out of the original story composed of the stolen words from the characters who had dissatisfaction in their minds. Due to the destructive power of the episode by Mephistopheles, the forest where fairies live, fell into crisis. To avoid the crisis, Soboro, originally Helena, created the new episode of reviving the forest, incorporating the catastrophic episode as a part of it. As the episodes were integrated into an inclusive story, the order of the forest was regained. The multiple episodes and their competitive relationship were the subjects of the play. Because the competitive relationship between the episodes inside the story was put in the foreground, this multi-layered structure may be called metafiction. The reason for creating this adaptation can be inferred from the fashion of occultism of the 1970s, particularly the prophecies of Nostradamus that predicted the end of the world in 1999. In this paper, I interpreted the production as an opposition to the eschatological atmosphere at the time. In examining the transition of Noda as a playwright, the metafictional structure is remarkable. During the 1980s, Noda’s works comprised bold images. In these plays, the images are not intended to be integrated at one point. On the contrary, after the dissolution of his theatre company, many of Noda’s works set clear themes, such as national borders and the Emperor. Hideki Noda’s A Midsummer Night’s Dream was unique in the feature that the multiple episodes were integrated by the metafictional structure of the play and such a structure itself was set in the theme of this play. In this respect, it is possible to understand a part of Noda’s tradition trying to construct a story integrated into one point as well as the criticism of contemporaries.
  • 宮道 壽一, 高木 茂孝, 森 俊介, 玄 光男, 片井 修
    2008年 128 巻 6 号 358-363
    発行日: 2008/06/01
    公開日: 2008/06/01
    ジャーナル フリー
  • 北関東医学
    1994年 44 巻 5 号 589-607
    発行日: 1994/09/01
    公開日: 2009/10/21
    ジャーナル フリー
  • 外岡 尚美
    演劇学論集 日本演劇学会紀要
    2005年 43 巻 79-95
    発行日: 2005/10/01
    公開日: 2018/12/14
    ジャーナル フリー

    The playwright Kisaragi Koharu's (1956-2000) career charts the trajectory of a woman carving out a new subject-position as a playwright and the leader of an experimental theatre company in the late twentieth century. Kisaragi is well-known for her postmodern sense of discontinuity and her “incredulity toward metanarratives.” Her incredulity was directed toward the notion of identity, and her early works contain breathtaking theatrical maneuverings of plots that reflect identity as a narrative construct. This sense of incredulity resonates with the postmodernity in Kisaragi's work, and it is also derived from Kisaragi's anxiety about her subject-position as woman, as a playwright, and as company leader, roles which had conventionally been reserved for men in the theatre up to the 1970s. Kisaragi spoke in double voices. Her dominant narratives focus on the problems in consumer society, interpersonal communication, identity formation, the dysfunctional nuclear family, and the role of art and artist in modern Japanese society. She also portrayed muted narratives under the surface that show the anxiety and despair of feminine voices that have been suppressed. Kisaragi's works demonstrates the playwright's constant endeavor to rupture and deconstruct narratives of self, modernity, and gender, creating and carving out a subject position for herself as woman playwright in modern theatre.

  • 西村 博子
    演劇学論集 日本演劇学会紀要
    2003年 41 巻 237-251
    発行日: 2003/12/15
    公開日: 2018/12/14
    ジャーナル フリー