Candida dubliniensis was first isolated from the oral cavity of AIDS patients as an emerging pathogen. As C. dubliniensis is very closely related to Candida albicans, it is difficult to separate these species from individual clinical samples. Differences in the expression of putative virulence factors and in antifungal susceptibility among different Candida species have raised the need for species-level identification. A novel selective medium for distinguishing C. dubliniensis from C. albicans was developed on the basis of susceptibility to micafungin. The minimum inhibitory concentrations of micafungin were more than 16 μg/ml for C. dubliniensis and less than 0.015 μg/ml for C. albicans. C. dubliniensis grew well, and the average growth recovery of the strains on the selective medium was 66.0% (23.9-97.7%). However, C. albicans did not grow on the medium. Even when C. dubliniensis was treated with saliva, no effects were observed on the growth recovery on the medium. In clinical samples from oral cavity, C. dubliniensis was detected from 3 of 13 denture-wearing subjects using the selective medium. When C. dubliniensis was detected in these 3 subjects, C. albicans always coexisted in the samples. In this study, new selective medium was suggested to be useful for the isolation of C. dubliniensis from oral cavity in clinical samples.

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Purpose: Porcelain-fused-to-gold copings prepared by the electroforming technique were introduced as an alternative to conventional metal/ceramic crowns. However, there are few clinical studies that have evaluated this technique. The purpose of this study was to prospectively evaluate the clinical performance of Auro Galvano Crowns (AGCs).
Methods: One hundred and twenty-seven AGCs were used to treat patients at the Tsurumi University Dental Hospital from October 2002 to December 2003. All the crowns were evaluated using the modified California Dental Association (CDA) quality assessment system at baseline and at all follow-up appointments.
Results: A total of 122, 119, and 72 crowns were examined at the 1-, 2-, and 3-year follow-ups, respectively. During the observation period, four crowns were removed because of partial fracture of the veneered porcelain in premolar and posterior teeth. No chips were detected during this observation period. All of the crowns examined were rated as satisfactory according to the modified CDA quality assessment system. During this period, the cumulative survival rate was 96.1%.
Conclusion: Within the limitations of this clinical study, AGCs luted with adhesive resin cement functioned satisfactorily with a relatively low fracture rate compared to porcelain-fused-to-metal (PFM) and all-ceramic crowns. Since the observation period was short, long-term observation will be necessary in order to further evaluate these crowns.

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世界人口の増加,生活様式と土地利用の変化によって世界中の地下水源の集中的な利用が行われるようになって来ている.地下水の有効性を改善するために,世界中の多くの所でさまざまな技術が開発されている.そのような技術の1つが地下ダムの施工である.しかしながら,地下ダムの設計,施工そして運用に関わる情報が少ないために,地下ダムの技術の一般的な適用に限界が生じている.したがって,このような現状に対して,世界の2,3の地区での地下ダム技術を本報告でレビューする.すなわち,地下ダムを建設するのに適した場所を選定するための調査法,実際に使われている施工法,そして,2,3の研究成果について論ずる.

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Shakespeare frequently used popular ballads, which were ubiquitous and most flexible art-form in early modern culture. As for dramatic effects of vocal songs in Shakespeare's plays, Bruce Smith suggests that the performance of well-known ballads onstage helps to establish a sense of common culture uniting actors and audience. However, we should not overlook the fact that the performances of ballads are elaborately woven into the world of the play and are significantly intertwined with the proceedings of the plot, especially in Othello. The purpose of this paper is to examine the dramatic functions of the two performance scenes in Othello focusing on the song in each scene. The two songs, "King Stephen" sung by Iago and "Willow Song" sung by Desdemona, will be examined, compared them with the ballads from which Shakespeare drew these songs. In the analysis, these scenes will be treated as structural elements that construct the world of Othello. First, I examine "King Stephen" sung by Iago in Act 2 scene 3, analyzing the form and words of its original dialogue-ballad, "Bell my wife," and demonstrate how the features of the ballad are reflected in this song, which advances and develops drama. Next, I delve into Desdemona's "Willow Song" in Act 4 scene 3. After briefly reviewing the features of old willow songs, I focus on the alterations Shakespeare made on the popular broadside ballad entitled "A Louer's complaint." An analysis of the alterations will show that the multiple subject positions in the singing of "Willow Song" even include Othello, the hero, and Barbary, the dead woman, transcending gender and class differences. Finally, I demonstrate that this song, sung with irregular intervals between singing phrases and spoken lines, functions as a ritual for turning the stage into the coffin for Desdemona, Emilia, and Othello, calling in the wind from the underworld.

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It is generally supposed that Ulysses is the incarnation of Stephen's theory of "static beauty," and that his esthetic theory owes for the most part to Thomas Aquinas' esthetics, as Stephen himself approves it. The perusal of Portrait reveals, however, an unexpected fact that his esthetics was rooted into his own experience-a kind of ecstacy he was thrown into from time to time. The "static beauty" was nothing but the image of beauty he conceived in this holy silence of rapture. In such mysterious instant he escaped from time and space and elevated to a higher dimension where he bathed in a new life of all with a glee of fullness. It was a feeling of possession du monde, at the same time, of the bliss of being made one with God. In order to induce this rapture he fostered the habit of contemplation, as was the case with Proust. In Stephen Hero, Stephen mentions the sudden spiritual manifestation caused by contemplation, which he calls epiphany. This corresponds to the radiance, the supreme quality of beauty in Stephen's esthetics. Stephen believes that it is for the man of letters to record these epiphanies with extreme care, as they are the most delicate and evanescent of moments. Ulysses is an attempt to eternalize such momental experience. As it was an experience of possession du tnonde, at once, of communion with something divine, obtained through a trivial object, he must pack eternity and all into a short and narrow space and time (space-Dublin Time-one day). This bold attempt was enabled by the double structure of time in monologue interieur. By this new technique he imbued cunningly eternity and all into his grain, pretending to follow faithfully his hero's stream of consciousness. Here we find the intrinsic resemblance with Proust who also tried to fix such instance of ecstacy. But Proust wrote it from inside of "Je", while Joyce tried to build it up into an objective frame work. This striking difference was caused by their mode of existence. Though we cannot tell whether he was conscious or not, Ulysses is an alibi of God. In this manner the theme of Ulysses mirrors the tragedy of Joyce himself.

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In this paper, the auther intends to analyze the site planning theories of Sir Raymond Unwin (1863-1940), who is called the Father of British Town Planning. His main contribution was to establish the British-type of Urban Housing Style. The main characters of his ideas were 'Amenity Approach' and 'The revival of medieval towns and villages'. He made the site plans of New Earswick, Letchworth Garden City, and Hampstead Garden Suburb in the first decade of this century. These residential areas were composed of low-density ("Twelve to the Acre" was Unwin's slogan), low-rise houses. "Amenity Approach" had its origin in the criticism of bylaw housing by the 1875 Public Health Act. He stood at the turning point of the planning ideas from City Sanitary to City Beautiful, and contributed to this change. Also, he analyzed the German and English medieval towns and villages in detail in his classic, Town Planning in Practice (1909), and stressed the importance of the planned visual structure of the residential areas such as irregularity of townscape, bending roads, garden commons, quadrangle to shape housing group. He tried to attain the social goal; the rebuilding of the community life, through better planned environment and physical order. His site planning theories were supported by the middle class people and it may be said that they recognized his theories as the method of community-control of the environment for their benefit. The typical area was "Semi-detached London".

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音楽資料には,一媒体多作品,多責任性,多言語,作品の可塑と断片化などの特徴があり,利用者もこの特徴に関連した検索要求を持っている。しかしながら,現状では音楽図書館のOPACでさえ,これらの特徴に十分に対応できてきないことが先行研究で示されている。そこで本稿では,この問題を解決する一つの方法として音楽資料に関するOPACのPRBR化を目指し,音楽資料に特化したMARCを対象として,著作および表現形の機械的同定のための基礎的な検討を行う。具体的には,音楽資料に特化したMARC(Toccata MARC)からクラシック音楽に関するデータ300件を抽出し,それらのデータの分析結果を参考に,著作および表現形の同定キー作成方法を探る。本研究が最終的に目指すのは,(1)音楽資料に特化したMARCを対象に,(2)文字列照合に基づく同定キーのクラスタリングによって,(3)著作だけではなく表現形の同定も行うことである。本稿は,この研究の第一段階となるものである。,

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Why did the Irish linen industry, which had spread throughout the country by the latter half of the 18th century, experience a rapid decline at the end of that century? The purpose of this paper is to present a colonial image of the 18th-century Irish linen industry, by investigating the policies England forced on the Irish linen industry, and how Ireland reacted to them. England's late 17th-century measure to promote the manufacture of linens in Ireland was a typical mercantile policy that was carefully designed to pursue the national interests of England, which was, at that point, the development of the English woollen industry. However, when linen manufacturing began to develop in Lancashire in the mid 18th-century, it became unfavourable for England to encourage the linen manufacture in Ireland, because it was an obstacle to the development of the Lancashire linen industry. The persons concerned in the linen trade in Ireland rarely felt that they were dependent upon the economic conditions of England as long as they were given enough encouragement. However, once the English Parliament passed a bill that gave the Lancashire linen industry priority over that of Ireland in 1770 (the 1771 Act), they came to recognise that their industry was a colonial type. After the 1771 Act, the Irish linen industry was depressed sharply while that of Lancashire continued to expand. Furthermore, the outbreak of the War of Independence in colonial America decreased the exports of Irish linens. To overcome these difficulties, the Irish linen industry pressured the English government, and finally got the freedom to trade with the British colonies. It was ironic, however, that by acquiring this freedom, Ireland became aware that there existed many other oppressive British policies over Ireland. In Irish political history, the 1770s and 1780s, when Ireland fought for liberty from England, have been understood positively, but through this movement for freedom, the Irish linen industry realised that there existed the limits of their development, and that they were incorporated into the growth process of the Lancashire linen industry as a yarn supplier. Furthermore, at the time they clarified this recognition, the Lancashire linen industry was ending its dependence upon Ireland for linen yarns, and taking a lean forward to the manufacture of pure cottons-calicoes.

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電子資料の保存に関わる事項を記述する保存用メタデータのエレメントセットについて,目録データなど対象資料の書誌的事項を記述するデータ(記述用メタデータ)と記述範囲を比較し,その特性や現状を明らかにすることを試みた。保存用メタデータとして,オーストラリア国立図書館(NLA),英国の大学図書館のコンソーシアムであるCEDARS,ヨーロッバの国立図書館の集まりであるNEDLIB,0CLCとRLGのワーキンググループが提案したエレメントセットを取り上げた。記述用メタデータは,MARC21フォーマット書誌レコード用と『日本目録規則』(1987年版改訂2版)を対象とした。その結果,保存用メタデータでは,記述用メタデータの範囲である対象資料の再生環境に加え,対象資料自体の詳細な情報を記述できること,更に,記述用メタデータで重視されていない,保存作業の履歴などの情報が記述できることが明らかとなった。

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This paper regards the calico-substitute industry of 18th century Lancashire as an 'embryonic cotton industry' and investigates how it developed into pure-cotton industry. In past research, little attention has been given to the pre-water-frame era, and only fustian has been considered as a mediation to pure-cotton calico. I start by considering the question, "what was calico-substitute: fustian or linen?" I then closely examine the following two issues: 1.) how the export of Lancashire linens to the Atlantic world developed in competition with Indian calicoes, and 2.) how linen yarn for warp was supplied to Lancashire until the appearance of the water-frame. In 18th century Lancashire, linens filled the role of calico-substitutes. Both linen and fustian were linen-cotton fabrics (cotton weft and linen warp), but while linen was a thin, light cloth, fustian was heavy and thick. Furthermore, linen could be finished with bright colours, and was very suitable for underwear because it could be easily washed. Lancashire linen had the same character as calico, in that it could be used in every corner of the globe, whatever the climate. The Lancashire linen industry made products for universal use and sent them to many places in the Atlantic world. The process of the growth of the embryonic cotton industry depended heavily on the outside world, not only for the demand for the goods but also for the supply of raw materials: the Atlantic world as a market for linen, and Ireland as a supplier of linen yarns. This process was a preparatory stage for the coming pure-cotton industry. The Irish linen industry was incorporated as a yarn supplier into the growth process of the embryonic cotton industry of Lancashire. This viewpoint will help to cast further light on the relation between Britain and Ireland as well as the history of the Irish linen industry in the 18th century. At the same time, it could also offer a new perspective to the conventional question of how the British Industrial Revolution came about; that is, how important a role her closest and oldest colony, Ireland, played in its outbreak.

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