From one length, one circumference, three widths and one depth of the neck, the Formula of the Neck was originated, of which the quantitative measurements were:
1) Neck-length: the vertical distance to the top of the clavicle from the center of the protrusion of the mastoid process which is behind the auricula.
2) Neck-circumference: the horizontal circumference immediately below the larynx.
3) Neck-width I: the direct distance between the two centers of protrusion of the right and left mastoid processes.
4) Neck-width II. the right and left distances of that section which is the uniform height as the neck-circumference.
5) Neck-width III: the direct distance between the two points on the right and left sides of the neck which meet the line of circumference connecting the cervicale with the suprasternate.
6) Neck-hepth: the front and rear distances of that section which is the uniform height as the neckcircumference.
From the above six quantitative measurements, the following eight indices were derived:
i) Neck index I (=Neck-width I.100/neck-length)
ii) Neck index II (=Neck-width II.100/neck-length)
iii) Neck index III (=Neck-width III.100/neck-length)
iv) Neck-width index A (=Neck-width II.100/neck-width I)
v) Neck-width index 13 (=Neck-widtd III.100/neck-width I)
vi) Neck-width index C (=neck-width III.100/neck-width II)
vii) Neck circumference index (=Neck-length.100/neck-circumference)
viii) Neck-depth index (=Neck-depth.100/neck-width II).
These indices were sought from the anthropological ages of many instances of men and women, and centered around their respective arithmetical averages, these indices were classified into five or six types taking into consideration standard variations and other factors.
These types were symbolized simply from one to five or six, and by using the letter“U”for the index in vii) above and the letter“T”for the index in viii) above, the numerical formula which was produced by charting the indices parallely in the order of I II III A B C U T was named the Formula of the Neck.

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From six heights and two widths of the zone of the mouth, the Formula of the Zone of the Mouth was originated, of which the following eight quantitative measurements were compiled;) Height of the zone of the mouth: the direct distance from the gnathion to the subnasale.
2) Height of all the lips: the direct distance from the mentolabial sulcus to the subnasale.
3) Height of the mucous membrane of the mouth: the direct distance from the labrale inferius to the labrale superius.
4) Height of all the upper lips: the direct distance from the stomion to the subnasale.
5) Height of all the lower lips: the direct distance from the mentolabial sulcus to the stomion.
6) Height of the lower face: the direct distance from the gnathion to the stomion.
7) Width of the aperture of the mouth: The direct distance between the right and left sides of the cheilion.
8) Width of the submaxillary angle: the direct direct distance between the right and left sides of the gonion.
From the above eight quantitative measurements, the following eight indices were derived:
i) Lip-index I (=height of all the lips. 100/height of the zone of the mouth).
ii) Lip-index II (=height of all the upper lips. 100/height of the zone of the mouth).
iii) Lip-index III (=height of all the lower lips. 100/height of the zone of the mouth).
iv) Lip-height index A (=height of all the upper lips. 100/height of all the lips).
v) Lip-height index B (=height of all the lower lips. 100/height of all the lips).
vi) Lip-height index C (=height of all the lower lips. 100/height of all the upper lips).
vii) Index of the mucous membrane of the mouth (=height of the mucous membrane of the mouth. 100/width of the aperture of the mouth).
viii) Index of the lower face (=height of the lower face. 100/width of the submaxillary angle).
These indices were sought from the anthropological ages of many instances of men and women, and centered around their respective arithmetical averages, these indices were classified into six types taking into consideration standard variations and other factors.
These types were symbolized simply from one to six, and by using the letters“MS”for the index in vii) above and the letters“UG”for the index in viii) above, the numerical formula which was produced by charting the indices parallely in the order of I II III A B C MS UG was named the Formula of the Zone of the Mouth.

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Although the form obtained from one length and three widths of the thigh was named the first formula of the thigh, the second formula of the thigh,, which is widely used as a whole, was worked out from one thigh-length and three thigh circumferences. The resulting quantitative measurements were as follows:
1) Thigh-length: same as the first formula; hence, that figure which is seven percent less than the quantitative measurement of incidence which in turn was derived from the subtraction of the tibiale-height from the iliospinale-height.
2) Thigh-circumference I: generally termed the largest circumference of the thigh.
3) Thigh-circumference II: generally termed the middle circumference of the thigh.
4) Thigh-circumference III: generally termed the smallest circumference of the thigh.
From these four quantitative measurements, the following six indices; namely, i) thigh length circumference index I (=thigh-legth·100/thigh-circumference I),
ii) thigh length circumference index II (=thigh-length·100/thigh-circumference II),
iii) thigh length circumference index III (=thigh length·100/thigh-circumference III),
iv) thigh circumference index A (=thigh-circhmference II·100/thigh-circumference I),
v) thigh circumference index B (= thigh-circumference III·100/thigh-circumference I),
vi) thigh circumference index C (=thigh-circumference III·100/thigh-circumference II)
were sought from the anthropological ages of many cases of men and women, and centered around arithmetical averages of indices, five to six types of classifications were made with considerations for standard variations.
For simplification these types were symbolized from one to five or six which were in turn charted in parallel arrangements in the order of indices I II III A B C, producing a form which was named the second Formula of the Thigh.

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The second formula of the upper arm was worked out from one length and three circumferences of the upper arm. The quantitative measurements were as follows:
1) Length of upper arm: the straight distance from the radiale to the acromion using the direct method of measurement.
2) Circumference I of upper arm: Base circumference, hanging upper extremity, at a right angle to the axis of the upper arm.
3) Circumference II of upper arm: generally termed the largest circumference of the upper arm.
4) Circumference III of upper arm: generally termed the smallest circumference of the upper arm.
From these four quantitative measurements, the following six indices; namely, i) upper arm length-circumference index I (=length of upper arm·100/circumference I of upper arm),
ii) upper arm length-circumference index II (=length of upper arm·100/circumference II of upper arm),
iii) upper arm length-circumference index III (=length of upper arm·100/circumference III
iv) upaer arm circumference index A (=circumference II of upper arm·100circumference I of upper arm),
v) Upper arm circumference index B (=circumference III of upper arm·100/circumference I of upper arm),
vi) upper arm circumference index C (=circumference III of upper arm·100/circumference II of upper arm)
were sought from the anthropological ages of many cases of men and women, and centered around arithmetical averages of indices, five to six types of classifications were made with considerations for standard variations.
These types were symbolized simply from one to five or six which in turn were charted in parallel arrangements in the order of indices I II III A B C, producing a form which was named the second Formula of the Upper Arm.

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The first formula of the thigh was worked out from one length and three widths of the thigh. The quantitative measurements were as follows:
1) Thigh-length: that figure which is seven percent less than the quantitative measurement of incidence which in turn was derived form the subtraction of the tibiale-height from the iliospinale-height.
2) Thigh-width: I width where the thigh is largest in circumference. 3) Thigh-width II: width where the circumference is measured around the middle section of the thigh.
4) Thigh-width-width III: width where the thigh is smallest in circumference.
From these four quantitative measurements, the following six indices; namely, i) thigh index I (=thigh-width I·100/thigh-length),
ii) thigh index II (=thigh-width II·100/thigh-length),
iii) thigh index III (=thigh-width III·100/thigh-length),
iv) thigh-width index A (=thigh-width II·100/thigh-width I),
v) thigh-width index B (=thigh-width III·100/thigh-width I),
vi) thigh-width index C (thigh-width III·100/thigh-width II)
were sought from the anthropological ages of many cases of men and women, and centered around arithmetical averages of indices, five to six types of classiiications were made with considerations for standard variatsons.
These types were symbolized simply from zero or one to five or six which were in turn charted in parallel arrangements in the order of indices I II III A B C, producing a form which was named the First Formula of the Thigh.

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Emily Dickinson’s remark that “Nature is a haunted house ─ but Art ─ is a house that tries to be haunted” encapsulates her poetic philosophy. In juxtaposing “art” and “haunted house,” Dickinson suggests that, in her poetics, the poet must have both active and passive attitudes to create “true” art. Critics have long examined the theme of the “home/house” in Dickinson’s poetry, primarily highlighting the biographical and socio-cultural contexts. However, “house poems” are central to Dickinson’s poetics. Specifically, they constitute meta-poetry in that they incorporate her special technique for capturing poetry.
With her proto-modernist sensibility, Dickinson proposes that words are inadequate to fully convey what she wants to present. True poetry, according to Dickinson’s definition, can be identified by its inexplicable nature. As if challenging the antinomy of poetry writing which is to express something indescribable in words, house images represent Dickinson’s paradoxical approach to “writing without writing.” Dickinson considers herself as a “Carpenter” of “Temples,” thereby equating house building with writing. “House” and “carpenter” serve as metaphors for poetry and poet, or a linguistic construction and its builder/writer. Using this comparison, Dickinson communicates her philosophy that poetry is the “Circumference” that outlines the “center” of meaning. A carpenter builds the house, an external structure, but cannot fill its interior space with content on her own. Similarly, the poet’s role involves creating the poem as a form of linguistic architecture, but the essence of poetry emerges from outside of the poet’s control. Thus, the poet entices and welcomes the unknown that cannot be articulated, what she calls “shapeless friend,” as a guest, to make the “house” complete. Only when the poetic composition becomes “haunted,” or inhabited by visitors, does the poet capture poetry alive in the “linguistic house.”
What is especially insightful about Dickinson’s poetics is its implication that a poet cannot complete a true poem, but must let the words fill themselves with mystery and wonder. Therefore, poetry composition is the act of preparing an empty container or house, for something that transcends human understanding to emerge and occupy this emptiness. This process resembles the construction of a “temple,” a place for a divine presence, as suggested by the definition of “Art” as a house “haunted” by others. Instead of being a “creator” who monopolizes the language, the poet works as a modest “temple carpenter,” in awe of the mystical process of writing.

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大学で近年盛んに取り入れられている教育手法の PBL（「課題解決型学習」「プロジェクト型学習」等と呼ばれるアクティブラーニング手法の一つ）は、グループワークなどの活動の中で、学生の主体的な学びを促進し、問題解決能力、創造力、コミュニケーションとコラボレーションなどの能力を育むとされ、行政や企業など大学内にとどまらず地域と連携して行う授業形態として多く存在する。しかし、PBL 科目の学生の成績評価は、教育効果の量的把握が必ずしも十分ではないことが指摘されている。そこで、本研究では、学生の成長と地域連携の実践効果を総合的に評価する際に、地域との関係性構築により醸成される「ソーシャルキャピタル」の観点が有効なのではないかと仮説を立て、大学の地域連携における PBL の効果を評価するための指標の構成概念を検討することを目的とした。既存のソーシャルキャピタル尺度と大学の地域連携におけるPBL実践事例、また PBLでの到達目標に多く含まれる社会人基礎力を基に分析を行った結果、指標は授業の主体者となる大学生が評価することを前提に、4 つの領域「チームワーク」「信頼」 「ネットワーク」「地域への興味関心」を設定し、それぞれの領域の定義を行った。今後の指標開発にあたっては、これらの４領域を基に項目内容と回答方法の精査が必要であろう。

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本研究は、大学が地域貢献の役割を果たす観点から、地域・産学官と連携した教育活動を進めていくにあたり取り組まれている PBL 教育について、実践事例報告より PBL の傾向を整理し、現状と課題について明らかにすることを目的とする。結果として地域連携に取り組む PBL の教育特性には、科目の到達目標に学生の社会的資質の向上があることや、最終成果の表現形態に文系・理系学部それぞれの特徴があることが明らかとなった。しかし、目標設定において連携先の視点や地域全体を総合的に評価できる項目が不十分であることから、今後より一層、連携先と大学・学生が地域連携の意義を明確に共有すること、また、地域全体での成果評価とそのための指標の必要性が課題となっている。

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既存研究では様々な考え方を用いた歩行モデルが提案されている。本研究では4足歩行の力学モデルの構築を目的とし、歩様転移が起きる条件を数学的に解析する。

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