日本初の“日英対訳版”登場!今こそ日本精神の源流を学ぶ時。「武士道」は、人類最高の指導理念です。本書は「武士道」の全てが分かる珠玉の一冊。ぜひ、世界の人々に「日本精神」を知って欲しい。.

人間存在の総体性の回復、人称的対立における和解と統合の試み。日々の風景、断想、聖書研究等も収録。.

Hospital ethics committees (HECs) are expected to play extremely broad and pivotal roles such as case consultation, education of staffs on healthcare ethics, and institutional policy formation. Despite the growing importance of HECs, there are no standards for setup and operation of HECs, and composition and activities of HECs at each institution are rarely disclosed in Japan. In addition, there is also a lack of information sharing and collaboration among HECs. Therefore, the authors established the Consortium of Hospital Ethics Committees (...) (CHEC) in October 2020, which has been regularly hosting a couple of core activities. One is the Healthcare Ethics Forum, held monthly online for CHEC members to freely discuss HECs and healthcare ethics consultation. The other is the Collaboration Conference of Hospital Ethics Committees, intended to provide a place for HEC members and administrative officers from across Japan to exchange information of their HECs, learn from each other, and cooperate to operate HECs appropriately. In this paper, the authors introduced CHEC as well as reported the results of a questionnaire survey conducted at the first conference among participating facilities, suggesting the diverse structures and activities of HECs in Japan. (shrink)

The present study collected a larger set of three-dimensional data on human crania from the Kofun period (as well as from previous periods, i.e., the Jomon and Yayoi periods) in the Japanese archipelago (AD 250 to around 700) than previous studies. Three-dimensional geometric morphometrics were employed to investigate human migration patterns in finer-grained phases. These results are consistent with those of previous studies, although some new patterns were discovered. These patterns were interpreted in terms of demic diffusion, archaeological findings, and (...) historical evidence. In particular, the present results suggest the presence of a gradual geological cline throughout the Kofun period, although the middle period did not display such a cline. This discrepancy might reflect social changes in the middle Kofun period, such as the construction of keyhole-shaped mounds in the peripheral regions. The present study implies that a broader investigation with a larger sample of human crania is essential to elucidating macro-level cultural evolutionary processes. (shrink)

The present study examines the 3-dimensional data of human crania from the Yayoi period (800 BC to AD 250) of the Japanese archipelago by geometric morphometrics to investigate demic diffusion patterns. This is the first study on the Yayoi crania using their 3D data and geometric morphometrics with a much larger number of skeletal remains outside of the Kyushu regions than previous studies. The comparative results between the Jōmon and Yayoi samples show that the Yayoi people not only in the (...) eastern parts but also in the western parts of the archipelago are significantly different from the final Jōmon people and the Yayoi people were not strongly affected by the Jōmon people. A relatively gradual geological cline is also found among the Yayoi population, suggesting that the immigrants from the continental East Asia moved from the western parts to the eastern parts of the archipelago though the causes of the morphological changes are unclear. (shrink)

The Correspondence of Tiglath-pileser III and Sargon II from Calah/Nimrud. By Mikko Luukko. State Archives of Assyria, vol. 19. Helsinki: Neo-Assyrian Text Corpus Project, 2012. Pp. lxxiv + 287, 3 plts., illus. $89.50.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 12-19 [Access article in PDF] The Concept of Freedom in Art Education in Japan The concept of freedom has played a very important role in art education in Japan. Needless to say, freedom has been regarded as an essential principle of education in the West. Writers from Jean Jacques Rousseau to John Dewey stressed the significance of freedom in education. Especially, in (...) the field of art education, Frantz Cizek, Viktor Lowenfeld, and Herbert Read emphasized the importance of children's free expression in relation to creativity. This article examines the concept of freedom in art education in Japan, focusing on the ideas of two major non-governmental movements in art education; the Free-Expression Movement in the 1920s and the Creative Aesthetic Education Movement in the 1950s-1960s. Although both movements have already declined, their impacts are still felt in Japanese art education. The Beginning of Art Education in Japan In the early Meiji Era (1868-1912), art education was introduced to Japan when the modern school system was imported from the West. In 1872, the first government drawing textbook; Seiga Shinan [Guide to Western Pictures] was published based on a Japanese translation of British drawing manuals. 1 In this period, the purpose of art class was to teach the basic skill of mechanical drawing for industrial development; the method consisted of merely copying model pictures in the drawing textbook. In 1910, Akira Shirahama, who spent three years in Europe and the United States surveying art education, edited Shintei Gacho [New Textbook of Drawing]. As Okazaki points out, Shirahama, who was impressed by the art curriculum in the public schools of the United States, referred to the importance of children's creative imagination; however, the new textbook did not fully reflect the idea. 2 Thus, the practice of art class was limited to copying textbooks, and children's free expression was not considered important in art class. Until this period, the issue of freedom did not correlate to art education. The Free Expression Movement in the Taisho Era After the World War I, a democratic movement prevailed during the Taisho Era (1912-1926) in Japan. This movement, called Taisho Democracy, influenced various parts of Japanese life including politics. In the field of education, many democratic ideas of education were introduced from the West and books on progressive educational thought such as John Dewey's Democracy and Education were translated into Japanese. Child-centered education also became popular among progressive teachers. During this period, Jiyuga KyouikuUndo, the Free-Drawing Education movement, was started by Kanae Yamamoto. Okazaki describes this epoch-making movement as "the remarkable movement of art education in 1919 which began to change art education philosophy." 3 It was the first time the issue of freedom was raised in art education in Japan. [End Page 13] Yamamoto's Concept of Freedom Kanae Yamamoto, born in 1882, studied Western painting at the Tokyo Fine Arts School. After graduation, he started his career as a print artist and set off for Europe in 1912. He stayed in France to study art and experienced the much freer atmosphere in Europe compared to Japan. When he returned to Japan via Russia in 1916, he encountered an exhibition of children's paintings in Moscow. The free expression of the Russian children's paintings deeply impressed him.After Yamamoto's return from Europe, he organized the first exhibition of children's free painting in Japan and established Japan Children's Free Drawing Association in 1919. The exhibition was given great attention by the public, who, influenced by the Taisho democratic movement, was becoming very interested in democratic education. Yamamoto's book; Free Drawing Education was published in 1921. In his usage, the term "freedom" is sometimes synonymous with creativity. 4 He explained the meaning of freedom in his education theory: Our education of freedom is not to educate as teachers like. It is not a worship of freedom showing the model of freedom but to teach freedom itself....In my belief, the essence of human beings will never... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 12-19 [Access article in PDF] The Concept of Freedom in Art Education in Japan The concept of freedom has played a very important role in art education in Japan. Needless to say, freedom has been regarded as an essential principle of education in the West. Writers from Jean Jacques Rousseau to John Dewey stressed the significance of freedom in education. Especially, in (...) the field of art education, Frantz Cizek, Viktor Lowenfeld, and Herbert Read emphasized the importance of children's free expression in relation to creativity. This article examines the concept of freedom in art education in Japan, focusing on the ideas of two major non-governmental movements in art education; the Free-Expression Movement in the 1920s and the Creative Aesthetic Education Movement in the 1950s-1960s. Although both movements have already declined, their impacts are still felt in Japanese art education. The Beginning of Art Education in Japan In the early Meiji Era (1868-1912), art education was introduced to Japan when the modern school system was imported from the West. In 1872, the first government drawing textbook; Seiga Shinan [Guide to Western Pictures] was published based on a Japanese translation of British drawing manuals. 1 In this period, the purpose of art class was to teach the basic skill of mechanical drawing for industrial development; the method consisted of merely copying model pictures in the drawing textbook. In 1910, Akira Shirahama, who spent three years in Europe and the United States surveying art education, edited Shintei Gacho [New Textbook of Drawing]. As Okazaki points out, Shirahama, who was impressed by the art curriculum in the public schools of the United States, referred to the importance of children's creative imagination; however, the new textbook did not fully reflect the idea. 2 Thus, the practice of art class was limited to copying textbooks, and children's free expression was not considered important in art class. Until this period, the issue of freedom did not correlate to art education. The Free Expression Movement in the Taisho Era After the World War I, a democratic movement prevailed during the Taisho Era (1912-1926) in Japan. This movement, called Taisho Democracy, influenced various parts of Japanese life including politics. In the field of education, many democratic ideas of education were introduced from the West and books on progressive educational thought such as John Dewey's Democracy and Education were translated into Japanese. Child-centered education also became popular among progressive teachers. During this period, Jiyuga KyouikuUndo, the Free-Drawing Education movement, was started by Kanae Yamamoto. Okazaki describes this epoch-making movement as "the remarkable movement of art education in 1919 which began to change art education philosophy." 3 It was the first time the issue of freedom was raised in art education in Japan. [End Page 13] Yamamoto's Concept of Freedom Kanae Yamamoto, born in 1882, studied Western painting at the Tokyo Fine Arts School. After graduation, he started his career as a print artist and set off for Europe in 1912. He stayed in France to study art and experienced the much freer atmosphere in Europe compared to Japan. When he returned to Japan via Russia in 1916, he encountered an exhibition of children's paintings in Moscow. The free expression of the Russian children's paintings deeply impressed him.After Yamamoto's return from Europe, he organized the first exhibition of children's free painting in Japan and established Japan Children's Free Drawing Association in 1919. The exhibition was given great attention by the public, who, influenced by the Taisho democratic movement, was becoming very interested in democratic education. Yamamoto's book; Free Drawing Education was published in 1921. In his usage, the term "freedom" is sometimes synonymous with creativity. 4 He explained the meaning of freedom in his education theory: Our education of freedom is not to educate as teachers like. It is not a worship of freedom showing the model of freedom but to teach freedom itself....In my belief, the essence of human beings will never... (shrink)

In referring to biographies of Edison as examples, the following are shown: the image of a scientist or an engineer in biographies has dramatically changed over time; the images produced anew in each period fitted well to the social milieu of the day; biographies therefore acquired a large readership and contributed to informing to the public of the value of science and technology and the necessity of promoting them. It is also pointed out that a new image of scientist or (...) engineer is to be created which is surely attractive to people today if we expect biographies to remain effective in promoting public understanding of science as before. (shrink)