本研究は，国内で放送されたテレビドラマ316作品を対象として、各作品のエンディング映像を，1）クレジットの表示方法，2）登場人物の設定，3）挿入される音楽のタイミング，4）映像表現の4点に注目して分析した。その結果，映像と音楽では本編から区別するような操作が施される傾向があるのに対して，登場人物の設定やクレジットの表示方法では，本編からの分節を弱め，本編との連続性を維持させる操作が生じていたことを確認した。以上を踏まえて，エンディングにおける表現の独自性を考察した。

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This is the report of the Japanese lessons through creating a . In my opinion, by using the process of creating a theatrical , i.e. writing a scenario, memorizing the lines and performing it in front of an audience, students can learn many aspects of Japanese language, namely, writing, reading, listening and speaking. The itself is an effective way for students to discover new words and phrases, to correct their mistakes and errors, and practice fluent speech. The process of creating a with classmates is also a good language activity, because they have to interact and co-operate with each other. To do this they must discuss, negotiate, and proceed using their Japanese language skills. Ultimately, when the students complete their and perform it in front of an audience, they will have learned a great deal of language material while having fun, and feel a deep satisfaction and fulfillment.

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The purpose of this study is to clarify the approach of Winifred Ward's creative . In this paper I analyze the creative activity: "GOLDILOCKS" leaded by Ward. I discuss the definitions of creative , the goals and objectives, the history of Ward's creative , and her representative activity. Creative is a process-oriented, improvisational activity which is guided by a creative leader. It has educational goals/objectives. Her major goals of creative are the individual and social development of children. Her approach requires a leader who has skills of storytelling and acting, knowledge of education, child development, and theatre/. Through these analyses I clarify the following five distinguishing characteristics in her creative : (1) Literature is the main stimulus for her creative because she is a good storyteller. (2) Her creative has a sequence: warm-up exercises, basic exercises, and complex exercises. (3) Her creative uses "a building-block sequence of activities: "movement/pantomime", "characterization", and "dramatization". (4) In her creative children show their work each other (5) Her creative has "evaluation" in the end of the activity.

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　　「専門家のマント」とは，専門家の役になった学習者が架空の依頼を受け，その課題に取り組む活動を通してさまざまな内容の学習を行うという手法である。この手法は，日本では，授業において用いることができる一つの技法という認識が一般的であった。しかし，この手法を発展させたドロシー・ヘスカットにとって，これは，カリキュラムの再構成をも伴う，より大きな可能性をもったものであった。ヘスカットが考える「専門家のマント」は，まず，単発ではなく複数回の授業を必要とするもので，また，常に教科横断的な学習を想定するものである。ヘスカットは，専門家の役になる際の間接性を重視する。また，架空の設定には「事業」「依頼人」「問題」という要素が必要であり，「事業」の確立が保障されなければならないとする。

　　ヘスカットが考えていたこうした「専門家のマント」の可能性は，2000年代に入ってからの，学校全体の規模でのこの手法への取り組みの出現により，実現した。ビーリングス小学校やウッドロー小学校はその一例である。これらの学校では，「専門家のマント」を通した教科横断的な学習が，カリキュラムの主要部分として組み込まれている。こうした新たな展開を支えたのが，ルーク・アボットと，彼が中心となって設立したMoE ドットコムというネットワーク組織である。アボットおよびこの組織はウェブサイトの運営や研修機会の提供を通して，この新展開に貢献している。

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The present study explores issues regarding the expansion of Japanese broadcast-related content business in the Chinese video streaming market, based on data gathered from a series of interviews with practitioners at Japanese broadcasters and Chinese platformers. Japanese broadcasters have viewed China as a promising but tough market for many years due to its institutional barriers along with low profitability, but have recently sought a way to utilize rapidly developing Chinese video streaming services in their growth strategy. This study is focused on the opportunities and risks in the Chinese video streaming market perceived by Japanese broadcasters as well as the value of Japanese broadcast content for Chinese platformers. It is argued that Japanese broadcasters are fully aware of risks specific to the Chinese market and have an issue with how they can take part in original content production by the Chinese video streaming platformers in response to the demand for stories and projects from the platformers.

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This study presents an Online Short-term Collaborative International Learning in which students are required to create a radio , with the aim of improving their intercultural ability. Based on the problems　 from 2023, we planned for the 2024 practice to aim for more active language and opinion exchange, to utilize a Dramatic approach, and to expand the time for collaborative creation. As a result, improvements were made in terms of increased interest in intercultural exchange and learning about language expression in .

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This article seeks to describe and analyze the failure of the first Christian mission in Western Polynesia. Applying Victor Turner’s model of social , we deal with the early confrontations on the Tonga islands in the years 1797–1801. A complex of overlapping and interdependent social dramas is identified between different social categories: missionaries and Tongans, missionaries and beachcombers, and beachcombers and Tongans respectively. Moreover, there is a social between the renegade missionary Vason, who “went native,” and the other missionaries. This paper also includes a Tongan point of view on these confrontations.

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This study is for the purpose of clarifying the characteristics that the establishment of a higher education institution of traditional and its curriculum structure have given to the dissemination of traditional . As to the method of the study, I have used the curriculum of China's only university that specializes in traditional , the Chinese Academy of Traditional Opera, as the object of study and analyzed its educational system and curriculum design. The followings were found through the research on this case. Firstly, the curriculum of traditional maintains the quality of tradition by assuming a bi-layer structure consisting of a tradition based acting and musical performance area, which is the physical presenter, and the theory conscious training of stage creators. Secondly, the curriculum of the education of performers assumes an organic structure that blends the methods of school education, oral and physical tradition. By assuming such a structure, standardized education to which school education is prone to is eliminated and originality is nurtured according to the individual's conditions. Thirdly, new tradition is created by perceiving the dissemination of tradition as a new place of creation, and by practicing a cooperative creation that is free from the bounds of disciplines. The curriculum design that emphasizes both the dissemination of tradition and creation places the handing down of the art within the family as the main axis of succession, and gives suggestions to Japanese traditional that has a problem with a shortage of successors.

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