Le haïku est une poésie japonaise de seulement 17 syllabes. Le Japon compterait 10 millions de haïkistes principalement non professionnels. Chacun compose des haïkus et les montre à des confrères en recherchant une reconnaissance. Mais est-il judicieux de qualifier le haïku d’activité d’amateurs?

Bien que John Stuart Mill et Jeremy Bentham aient été considérés comme d’illustres exemples de « Philosophes radicaux », leurs exigences en matière de réforme sociale et politique étaient basées sur des points de vue différents. Comparée à celle de Bentham, l’analyse de Mill concernant le principe d’utilité et de démocratie représentative présente certains traits « perfectionnistes » et « élitistes ». La présente étude se propose d’examiner ceci à la lumière de la réception et de la réponse de Mill (...) aux idées de Bentham sur la politique. Bien que Mill fût, en partie, un partisan enthousiaste de Bentham, et qu’il lui attribuât le mérite de promouvoir les réformes juridiques et politiques, il semble avoir commencé, à partir de 1833, à évaluer ouvertement Bentham de façon critique. Ceci peut être perçu dans ses discussions et sa relation intellectuelle avec George Grote, qui était aussi un politicien et un historien utilitariste. L’accent mis par Mill sur le rôle essentiel de « l’éducation sociale du peuple » dans la promotion de l’esprit public fut développé dans des dialogues avec Grote et l’examen de ses études historiques. La présente étude conclut que Grote fit preuve de plus de sympathie envers Bentham que Mill, dans l’approche théorique aussi bien que dans l’approche pratique. Bien que tous les trois fussent vraiment dévoués à la même cause radicale, ils avaient toutefois des visions différentes de la crise de la démocratie parlementaire. L’examen du contexte de sa relation intellectuelle avec Grote fournit l’une des sources permettant de comprendre le défi jeté par Mill aux idées de Bentham relatives à la réforme politique. (shrink)

Persons with visual impairments (hereafter PVI) detect and discover obstacles and road conditions by touching with a white cane when walking on the streets. In one training session, an Orientation and Mobility specialist (hereafter SPT) guided a PVI by grasping and moving the cane that the PVI was holding. We conducted a multimodal analysis of two instruction sequences, one a "proving and achieving" demonstration (Sacks in Lectures on conversation, Blackwell, 1992) and the other a "learnable" (Zemel and Koschmann, in Discourse (...) Stud 16:163–183, 2014) demonstration. The achieving demonstration proved the assessment of the PVI's performance. In the "learnable" demonstration, the PVI was able to receive and perform the most critical part of the "learnable" of the long contact touch without the aid of talk. Sharing a single cane touch is an efficient way for both the guiding SPT and the guided PVI to jointly experience and understand the environmental features. The SPT did not need to verbally confirm that the guided touch was accountable to the PVI and seemed confident that intersubjectivity with the PVI had been established. A unique form of being with others and achieving intersubjectivity in society was identified. In traditional learning instruction, it has been assumed that the learnable is presented and communicated visually and audibly. However, through guided touch learnable is presented and conveyed effectively in the cases of this paper. It seems that the sense of touch has been considered to be just for the occasion, but this is an example of something that is not just for the occasion but is consequential, that is, usable for further occasions. The data is in Japanese. (shrink)

ArgumentHijōji was an important keyword in the militarist Japan of the 1930s. Previous scholarship has assumed that such language sprung from the global financial crisis of 1929, and subsequent diplomatic events. Our article demonstrates, however, that a full-bodied language of emergency was crafted well before the collapse of the global economy, and against the backdrop of the Great Kanto Earthquake of 1923, which destroyed the Japanese capital. While previous “great earthquakes” had been opportunities to strengthen Japanese participation in the global (...) project of science, this one led more dramatically to a crisis of reason, and indirectly contributed to the spiritual, anti-western, and anti-rational rhetoric of what became the “Showa Restoration.” This and other post-disaster landscapes, we argue, should be examined as compelling sites for the crafting of political language – sites of opportunity and meaning as well as trial. While the phrase “state of emergency” was coined under very different circumstances in post-war Britain, it gained power and charisma in Japan, and likely other places around the world, by its association with natural catastrophe. Thus did modern politics establish a new connection with the traditional realm of the sublime, and in the case of Japan, the supernatural. Emergency's ability to associate politics with nature would never disappear, and has perhaps even strengthened in the early twenty-first century. (shrink)

ベストセラー『7日間で突然頭がよくなる本』の著者による、はじめてのニッポン論。古代の神話や仏教、儒学、武士道から国学、さらには福澤諭吉らによる啓蒙書さえも「日本哲学である」と定義する。1500年にもお よぶ日本思想の遺伝子的深層を新視点から読み解く最新の入門書。.

This essay retrieves the meaning and importance of renga, or linking poetry. Long forgotten, even in Japan, it was the form of which the great Bashō was the mater (not haiku as is now believed). When examining renga poetry, one can see that it is based not on authorial vision, but rather the trans-subjective mood that guides the different links made by the various poets who collaborate in the “rolling” of a renga. The radical implications of this form for both (...) aesthetics and ethics will be considered. (shrink)

We present several models which satisfy CH and some ♦-like principles while others fail, answering a question of Moore, Hrušák and Džamonja.

In lieu of an abstract, here is a brief excerpt of the content:Music Teacher Education in Japan:Structure, Problems, and PerspectivesMasafumi OgawaSchool music education in Japan is in a less than ideal situation. In April 2002, the new course of study was implemented by the Ministry of Education, Culture, Sports, Science and Technology (MEXT).1 The total number of music classes in the new curriculum was reduced to 33% of what it had been by the end of 2002. The reduction went from (...) two hours of music classes every week in grades one through nine to one hour in grades five through nine. This inevitably caused many problems. First, it became very difficult to teach music sequentially and instead music classes tended to be fragments of introductory experiences taught as disconnected activities. In this situation, it has been difficult for students to develop musical knowledge and skills. Second, the number of full-time music teachers was reduced greatly. It became common for a music teacher to teach at more than two schools in order to fill a full-time assignment. In some scenarios, many full-time music teachers were replaced with part-time teachers or teachers of other subjects. Music teachers have become disposable.Many music teachers are losing their effectiveness in the classroom. Students consider school music classes as a time to relax compared with other "intellectual subjects."2 They sometimes question music as an essential subject because they [End Page 139] do not value the developing skills that music requires or studying the theory of music. They believe that they can enjoy music outside of school anyway. Consequently, they are quite reluctant to participate in music classes and so behavioral problems arise and classroom management becomes more difficult. Some teachers attempt to force students to obey and force them to order; other teachers totally give up and let students behave as they like in class.3 In either case, teachers and students do not relate well to each other. It is not an exaggeration to say that school music in Japan is at risk of collapsing altogether and disappearing from the curriculum.One of the reasons for this, I believe, is that we have not wrestled with the fundamental problems of school music education until today. We might have intentionally avoided reviewing and criticizing the curriculum, expectations, and purposes of music education because it has been taboo to discuss the national standards, particularly for public school teachers to do so. Social and environmental conditions have changed greatly since the current system of Japanese education was established in 1947. It is obvious that the existing system does not match the new conditions.I strongly feel that it is time to review and reexamine what our pioneers of music education and the government had achieved in the field of music education. If we continue to avoid doing so, music in the schools will face serious consequences. In this paper, I discuss some of the fundamental issues of music teacher education in Japan. There are two reasons for focusing on music teacher education. First, starting with music teacher education is most important because music teachers have the most significant roles in school music education. Second, I have been engaged in music teacher education for seventeen years, and this is not only my research area but also an area in which, as an insider, I can offer direct insights. I will limit this essay to looking at the preparation of teachers in music for elementary and middle schools (grades 7 to 9).StructureThe course of study (COS) is a set of national curriculum standards for kindergarten, elementary, middle, and high school, and schools for the handicapped and is issued by the MEXT.4 All schools, public or private, are required to follow these standards. No other curriculum is allowed. Therefore, in Japan, the COS is law through which the government controls all educational actions. The COS was first issued in 1947 and has been revised seven times.5 The most recent revision was announced in December 1998 for kindergarten, elementary, and middle schools, and in March 1999 for the other levels. All schools in Japan were required to implement the revised COS by April 2002. [End Page 140]The COS of... (shrink)

We investigate splitting number and reaping number for the structure (ω) ω of infinite partitions of ω. We prove that ${\mathfrak{r}_{d}\leq\mathsf{non}(\mathcal{M}),\mathsf{non}(\mathcal{N}),\mathfrak{d}}$ and ${\mathfrak{s}_{d}\geq\mathfrak{b}}$ . We also show the consistency results ${\mathfrak{r}_{d} > \mathfrak{b}, \mathfrak{s}_{d} < \mathfrak{d}, \mathfrak{s}_{d} < \mathfrak{r}, \mathfrak{r}_{d} < \mathsf{add}(\mathcal{M})}$ and ${\mathfrak{s}_{d} > \mathsf{cof}(\mathcal{M})}$ . To prove the consistency ${\mathfrak{r}_{d} < \mathsf{add}(\mathcal{M})}$ and ${\mathfrak{s}_{d} < \mathsf{cof}(\mathcal{M})}$ we introduce new cardinal invariants ${\mathfrak{r}_{pair}}$ and ${\mathfrak{s}_{pair}}$ . We also study the relation between ${\mathfrak{r}_{pair}, \mathfrak{s}_{pair}}$ and other cardinal invariants. We show (...) that ${\mathsf{cov}(\mathcal{M}),\mathsf{cov}(\mathcal{N})\leq\mathfrak{r}_{pair}\leq\mathfrak{s}_{d},\ma thfrak{r}}$ and ${\mathfrak{s}\leq\mathfrak{s}_{pair}\leq\mathsf{non}(\mathcal{M}),\mathsf{non}(\mathcal{N})}$. (shrink)

By using finite support iteration Suslin c.c.c forcing notions we construct several models which satisfy some ♢-like principles while other cardinal invariants are larger than ω1.

His book Some Japanese flowers of 1896. an original copy of which is in the collection of the J. Paul Getty Museum, features handcolored collotypes of flowers native to Japan, including the lotus, several varieties of chrysanthemum and lily ...

仏教とは「超越と実存」のせめぎ合いの歴史である――「恐山の禅僧」が、ブッダから道元までの思想的変遷に迫る、かつてない仏教史。.

We study the Mathias–Prikry and Laver–Prikry forcings associated with filters on ω. We give a combinatorial characterization of Martinʼs number for these forcing notions and present a general scheme for analyzing preservation properties for them. In particular, we give a combinatorial characterization of those filters for which the Mathias–Prikry forcing does not add a dominating real.

Previous studies have suggested that musical training in childhood is beneficial for sociability. However, it remains unclear how age of onset of group music lessons is associated with the late sociability of children from a long-term perspective. This study investigated associations between group music lessons conducted at a music school and children’s levels of sociability by focusing on the age of onset of the lessons. We conducted a survey of 276 children aged 4–5 years (M = 58.5 months) and 6–7 (...) years (M = 82.7 months) who commenced music lessons at ages 1, 2, 4, and 6 years. We found that (1) the empathy scores of children aged 6–7 years who began lessons when 1-year-old were greater than those who began lessons when 4-years-old, (2) the communication scores of children aged 4–5 years who began lessons when 1-year-old were greater than those who began lessons when older than 1 year, and (3) the empathy and extraversion scores were high in those aged 6–7 years who began lessons in that age range. The results suggest that early onset of music lessons could positively influence children’s sociability; in contrast, after about age 7 years, children who already had high sociability may be more inclined to select group music lessons. By focusing on the impact of regular group music lessons from a very young age on later levels of sociability, these results further elucidate the effects of musical lessons. In sum, participation in group music lessons 2–4 times per month can be effective social training for very young children and foster their later sociability. (shrink)

Using a mixture of economic and demographic analysis, this book studies the changing patterns of family formation over the last twenty years.

Japan has been one of the nations where music education is not grounded on its own indigenous music. The universal slogan that school music education should be based on each country's own music has mainly remained unpracticed here. This essay is to clarify the exing questions raised by the above discussion--why Western music is still the core of public music education in Japan and how this came to be so. I then offer my views on the future of Japanese public (...) music education: how Japanese traditional music should be dealt with in school music education. The responsibility of Japanese music educators might be concerning this issue. (shrink)

The topic of translation is in my view not only a linguistic problem, but also a problem in the philosophy of culture. In the lexicon of a foreign language we may find an unfamiliar word that designates an object that is unknown in the eyes of our own culture. Instruments employed in a religious ceremony of the Catholic church, for example, an “encensoir,”, “reposoir,”, or “ostensoir,” will have no corresponding word in the Japanese language. But you must translate words of (...) this type if you wish to translate Baudelaire’s poem “Harmonie du soir.” If these Catholic words are translated into Japanese, then we must use some traditional Japanese word as a rough equivalent of the original word, or we have to make up some new word in order to effect a translation. Through this, however, the single signans of the original word yields two meanings, since the new use of the old word or the new word must somehow carry the traditional meaning also. In the first case two meanings come to be involved, meanings derived from two different cultures. In the second case, the new word must somehow be explained in terms of Japanese, if it is to bear the new linguistic load. (shrink)

Increasing psychophysical evidence suggests that specific image features - or statistics - can appear unpleasant or induce visual discomfort in humans. Such unpleasantness tends to be particularly profound if the image's amplitude spectrum deviates from the regular 1/f spatial-frequency falloff expected in natural scenes. Here, we show that profound unpleasant impressions also result if the orientation spectrum of the image becomes flatter. Using bandpass noise with variable orientation and spatial-frequency bandwidths, we found that unpleasantness ratings decreased with spatial- frequency bandwidth (...) but increased with orientation bandwidth. Similarly, a subsequent experiment revealed that sinusoidal modulations in the amplitude spectrum of 1/f noise along the spatial frequency increased unpleasantness, but modulations along the orientation decreased it. Given that natural scenes tend to have a linear slope along the spatial frequency but an uneven spectrum along the orientation dimension, our opposing results in the spatial-frequency and orientation domains commonly support the idea that images deviating from the spectral regularity of natural scenes can give rise to unpleasant impressions. (shrink)