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  • KEN MASUDA
    Nilo-Ethiopian Studies
    2008年 2008 巻 12 号 75-76
    発行日: 2008年
    公開日: 2021/03/19
    ジャーナル フリー
  • 三輪 是法
    印度學佛教學研究
    2021年 69 巻 3 号 1184-1190
    発行日: 2021/03/25
    公開日: 2021/09/06
    ジャーナル フリー

    この研究は,日蓮仏教が信仰者に与える心理的影響を考察するために,近代日本における日蓮仏教の信仰者一人一人にスポットを当て,調査考察を試みようとするものである.今回は,京都駅前に建つビジネスホテル・法華クラブの創業者である小島愛之助を取り上げた.彼は法華倶楽部を創業する以前,「宇都宮太郎」という芸名で,日蓮の生涯を庶民に広めるための「統一節」なる講談を全国各地で興行していた.本稿では,小島の生涯において,大正年間の日記に確認できる,入門・巡行の生活,玉雄との結婚,長男の誕生,次男の早世,という4つの出来事に焦点を当て,彼の信仰の特質について考察した.

    小島愛之助は明治17年(1884)兵庫県に生まれ,大正元年(1912)に統一節と出会う.統一節とは日蓮の生涯を節とともに読み上げていく講談で,講談師「宇都宮主計之助」,本名妹尾朔によって創作された.小島は妹尾を師とし,宇都宮太郎の名前で布教の日々を送る.妹尾について巡講の旅に出るようになると,小島の日蓮信仰が深まりを見せる.当初は統一節という芸能に魅了されていたが,日蓮遺文に触れて日蓮への理解が深まると,日蓮仏教の布教のため,その責務を果たすべく行動するようになっていく.

    小島は,常に使命感に基づいて行動していたと考えられる.それは,日蓮仏教を広宣流布するための統一節であり,法華倶楽部創業であり,立正活映株式会社の設立であった.その使命感を強化するもの,換言すれば小島を信仰へ導くものとして,妹尾朔によって執筆された日蓮伝があり,日蓮の生き方が規範となって,彼を突き動かしたといえるであろう.

  • Dennis Hoerner
    D・H・ロレンス研究
    1991年 1991 巻 1 号 13-25
    発行日: 1991/03/30
    公開日: 2009/08/21
    ジャーナル フリー
  • Chihiro Tamaki, Takashi Nagayama, Masamichi Hashiba, Masato Fujiyoshi, Masanori Hizue, Hiroshi Kodaira, Minoru Nishida, Kazuhiko Suzuki, Yoshiharu Takashima, Yamato Ogino, Daisaku Yasugi, Yasuo Yoneta, Shigeru Hisada, Takako Ohkura, Kazuichi Nakamura
    The Journal of Toxicological Sciences
    2013年 38 巻 4 号 581-598
    発行日: 2013/08/01
    公開日: 2013/07/02
    ジャーナル フリー
    電子付録
    The objective of this study was to elucidate the range of abilities of nonclinical safety assessment for predicting adverse drug reactions (ADRs) in humans. The dataset included 1256 ADRs with an incidence rate of 5% or more collected from 142 drugs approved in Japan from 2001 to 2010 (excluding anticancer agents and vaccines). Gastrointestinal, neurological and hepatobiliary ADRs were relatively common, followed by hematological, cutaneous, systemic and cardiovascular ADRs in the dataset. The analysis revealed that 48% of ADRs were predictable based on a comprehensive nonclinical safety assessment considering animal toxicity. Hematological and ocular ADRs, infection, and application site reactions showed a correlation of more than 70%, while musculoskeletal, respiratory and neurological ADRs showed a correlation of less than 30%. In addition to subjective patient perceptions, several laboratory parameters routinely monitored both in animals and humans showed a lower correlation, e.g., abnormalities in hepatobiliary and metabolic parameters, and blood pressure increase. Large molecule drugs showed lower correlation than small molecule drugs; ADRs were observed in various organs and consideration of pharmacological action did not significantly contribute to the prediction. It was also confirmed that the current standard of toxicology testing regarding dosing duration and dose level is adequate to detect concordant animal toxicity. This study collectively demonstrated a significant value of nonclinical safety assessment in predicting ADRs in humans. It also identified the subset of ADRs with poor predictability, highlighting the need for advanced testing that enables successful translation of animal toxicity to clinical settings with better accuracy and sensitivity.
  • 杉村 泰教
    英文学研究
    1981年 58 巻 1 号 49-59
    発行日: 1981/09/01
    公開日: 2017/04/10
    ジャーナル フリー
  • Yu Hoki
    Orient
    2017年 52 巻 59-78
    発行日: 2017/03/31
    公開日: 2020/04/01
    ジャーナル フリー

    This paper reveals the practice of compounding medicines from the perspective of medieval Arabic medical books and the Cairo Genizah, focusing on ophthalmology. Some researchers have argued that, due to the large number of new remedies added through experience and trade, physicians gradually became free from the classical four-quality theory. However, our study shows that a kind of logic can be discerned in compound medicines, and that this logic requires knowledge of the classical four-quality theory. The practical dimensions have been neglected because most Arabic materials do not say anything about it. Given this textual restriction, The Cairo Genizah is important for Arabic medical history, because it o ers abundant information about medical practices.

    Among medical fragments of the Cairo Genizah, we focused on the speci c genre, which we would call “notebooks.” The text found in notebooks is consisting of recipes for compound medicines. Quite often, the genizah notebooks contain original recipes that are not found in the medical books. These are thought to be clearer re ections of the actual practice in medieval Cairo. We took up treatments of conjunctivitis (ramad) and eruptions of the eyelids (jarab). Firstly, we explored several medical books, and summarized the descriptions that related to the treatments of these eye diseases. Secondly, turning to the genizah notebooks, we collected recipes for the eye medicines, listed all of the ingredients, and checked their qualities. Finally, taking the characteristics of each ingredient into consideration, we examined whether or not these recipes exhibited theoretical consistency. Through a close examination of these materials, we found that the ingredients in the notebook recipes are different from those in the medical books, although their temperaments fulfill the conditions required for particular treatments. The ophthalmologists might have recognized the required effects for certain eye diseases, and then chosen substances that met those requirements.

  • ケイト・レズリーがアイルランド人であることについて
    小田島 恒志
    D・H・ロレンス研究
    1997年 1997 巻 7 号 15-28
    発行日: 1997/03/20
    公開日: 2009/08/21
    ジャーナル フリー
    What Kate Leslie has recognized in the final part of The Plumed Serpent is that she is more Irish than anything and that Celtic mysticism lies at the bottom of her soul. This reminds us that Lawrence once declared he was interested in what a woman is rather than what she feels, and that he was fascinated by Celtic people in Cornwall.‘Softness, ’which Lawrence found especially attractive in Cornish people, is given to Kate and it proves to be the medium between her and Mexican people.
    The repetition of the word‘soft’at the end of The Plumed Serpent suggests that it is not so much the consciousness as the‘softness’in Cipriano that makes Kate feel;‘You won't let me go!’This open ending, where Kate is indecisive about her returning to England (not Ireland), reflects Lawrence's wish that his home country would recollect the Celtic softness. It also has the effect of‘foregrounding’the author's interest in the relationship between individuals rather than that between races. The softness here leads to the tenderness in Lady Chatterley's Lover.
  • 古木 圭子
    英米文化
    2014年 44 巻 1-19
    発行日: 2014/03/31
    公開日: 2017/06/20
    ジャーナル フリー
    Margaret Fleming (1890) has been acclaimed as James A. Herne's most notable accomplishment as a founder of realism in American theatre by such theatre critics as Arthur Hobson Quinn, Hyatt Howe Waggoner and Herne's biographer, John Perry. Nevertheless, Hearn was not without his detractors; Dorothy S. Bucks and Arthur H. Nethercot point out that this play was conceived under the heavy influence of Henrik Ibsen's A Doll's House (1879), which was first introduced to American Theatre in 1889. Therefore, it has been argued that a great deal of Herne's achievement should have been credited to Ibsen. This assumption, however, holds true only if we presume that Herne's plays before Margaret Fleming had been far from drama of realism. Yet Herne, even in his earlier work, Hearts of Oak (1879), shows his inclination toward realism in the sense that it eliminates the clear distinction between virtues and vice, and instead emphasizes the characters' social backgrounds, environments and inner struggle, leading the dramatist to create such works of realism as Drifting Apart (1888), Margaret Fleming, Shore Acres (1893), and Sag Harbor (1900) in the later part of his dramatic career. This paper, accordingly, examines to what extent Herne's realism can be said to be original, through the analysis of Hearts of Oak and Sag Harbor. In particular, Herne's depiction of the negative aspects of marriage in these works will be examined, together with how it relates to the making of realism in American theatre.
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