524 research outputs found
å°å瀟äŒã掻çšããåžæ°çè³è³ªã» ã·ããºã³ã·ãããè²ãããã®æè²æ¹é© ããŒå°åã®æ±ããè«žåé¡ãžé¢ããããšã®æè²çæ矩ãŒ
This paper explores the importance of learning citizenship in local schools, especially for the
younger generation. In recent years, it has been pointed out that the number of young people who
are not likely to be interested in local communities or society has been increasing due to the lack
of opportunity for social involvement and community involvement. They are spiritless, ignorant,
and indifferent to their local communities and society. This trend will build a dependence on the
central government, and it will also be an issue of concern for social developments. Therefore, it
is now necessary to have an independent sense of engagement in a local community, especially
for young people.
First of all, this paper defines citizenship and outlines the reasons why we should discuss promoting
citizenship in the present situation. In particular, it focuses on a community and its surrounding
area with many examples for teaching citizenship. Then, it explores the importance and
potential learning activities in a local community, such as the importance of the challenge of
teaching local issues. Next, as an actual example, it looks at the results of a 3-year research project,
âThe development of teacher-training based on the local education network,â which was
carried out by Momoyama Gakuin University from 20022005. Finally, it explores a way of introducing
citizenship education into the school curriculum.
In this new century, we recognize the arrival of a new period of citizenship. This paper, it is
hoped, will lead to the spread of citizenship education throughout the Japanese school system.departmental bulletin pape
çè°ããããšã«éç¹ã眮ããé«æ ¡å ¬æ°ç§ã§ã®åãçµã¿â éžæãããã§ã¹ããèªãææ¥ãéã㊠â
æ¬ç 究è«æã¯ãé«æ ¡å
¬æ°ç§ã§ã®å®è·µã«ãããŠãä»è
ââããã§ã¯ã¯ã©ã¹ã¡ã€ãââãšãçè°ããïŒdeliberative discussionïŒããšããææ³ãåãå
¥ããé«æ ¡çãæ¿æ²»ã«å¯Ÿããé¢å¿ãæèãã©ã®ããã«å€å®¹ãããŠãã£ãã®ãã«ã€ããŠããçè°ãããæè²ææ³ã®å¹æãæ€èšŒãããã®ã§ãããçµæãçè°ããããšã«ãã£ãŠãä»è
ã®ååšãèªå·±ã®æ¿æ²»ãžã®é¢å¿ãé«ããåã
ã®äŸ¡å€èŠ³ãçå¯çã«å€å®¹ããããšããå¹æãããããšãæãããšãªã£ãããŸããããããåã
ã®å€å®¹ããçåŸå人ã®å€å®¹ã ãã«ãšã©ãŸãããä»è
ãšã®çè°ã®äžã«ãããåæ圢æéçšã§ã瀟äŒå€é©ã«ãã€ãªããèèœãšããªãããããšã確èªã§ãããããã«ãçè°ã¯çåŸéã«ååçãªåŠç¿ã¹ã¿ã€ã«ãæ§ç¯ãããããšã瀺ãããçåŸã®åŠã³ã®è³ªãåäžãããå¯èœæ§ãçåã§ãããä»åŸã¯ãåã
ã®ãçè°ãããããã»ã¹ããå®éã«ç€ŸäŒå€é©ãšã©ã®ããã«ã€ãªãã£ãŠããããšã«ãªãã®ãããã®è©³çŽ°ãèŠãŠããå¿
èŠãããã
è€åè¯çµãå çŸçªæåãã«ã€ã㊠âå è¡äœåæåãäžå¿ã«â
è€åè¯çµäž»å¬ã®ãå
çŸçªæåãïŒå»ºä¹
äžå¹ŽçµŠé¡ïŒã¯ãæ§é¢šã®å
æ¡è€å®¶æ人ãšæ°é¢šã®åŸ¡å巊家系統ã®æ人ãšã®éã«æè«äžã®æ¿ãã察ç«ããããããæåãšããŠå€ã«ç¥ãããŠãããããã¯ãŸããæ°å€ä»æ代ã®åå€ã«ãããææã«åæçãé å°ããä¹æ¡å®¶æå£ã«ãããæ倧ã®çåãšãäœçœ®ã¥ããããæ°é¢šå°é æã®è© 颚ãåæããäžã§éèŠèŠãããŠãããè¯çµã®çŸéŠã«ã€ããŠããäž»å¬è
ã»çµŠé¡è
ãšããç«å Žã«ããããšããæé¡ãšã®é¢ããã«ã€ããŠè«ããããä»ãæ°å€ä»æ代ã®äž»èŠãªææ³ã§ããæ¬æåãã«ç¹ãããšããŠå
è¡äœåæåã®æ¹æ³ã«é¢ããããšãåãäžãããããªã©ãæ§ã
ãªé¢ããã®ç«è«ããªãããŠãããæ¬çš¿ã¯ãããã®ãã¡ãå
è¡äœåæåã®æ¹æ³ã«é¢ããç 究ã«é£ãªããã®ã§ããããã®äžã§ãç¹ã«ããããŸã§ããŸãåããããããŠããªãã£ãåæã®é£æ¥é åã«äœçœ®ããäœåãåã蟌ãã§ããããšããŠããè¯çµã®ããæ¹ã«ã€ããŠè«ãããæ¬çŸéŠã®è¯çµè© ã«èŠãããåœä»£çãªæ§æ Œã«ã€ããŠã¯ãåæ代æ人ã®è© ãç©æ¥µçã«åãå
¥ããäœåäœããå¿åãããŠããããšããã§ã«ææãããŠãããããããªããæ¬çŸéŠã䞹念ã«èŠæž¡ããŠãããšããããããŸãªåãå
¥ãæ¹ã§ã¯ãªããã®ã®ãä»æ§ãçé£æãšãã£ãåæã«é£æ¥ããé åã®äœåããã圱é¿ãåããŠããããšãèŠããããä»æ§ã®è©ç« ã«ã¿ããäžã€ãã®èéæ以éã«åæãžãšåã蟌ãŸããèªåœãäœåã«åãå
¥ããããŠããä»ãå¥ã®ãåããåããšããçé£æã«å€çšãããå
è¡äœåæåã®æ¹æ³ïŒè©³ããã¯ãæçš¿ãæºä¿é Œã®åæãšçé£æã[ãåœæåŠç 究è³æ通çŽèŠãæåŠç 究ç¯ã第äžåäžå·ãå¹³æäºåäžå¹Žäºæ]ãåç
§ïŒãçšããããŠããã®ã§ããããã®ããã«ãæ¬æ¥ã§ããã°åæãããäžæ®µäœãèŠãããŠããé£æ¥é åã®äœåããå©çšããŠå
è¡äœåæåã®èªç±åºŠãæ¡å€§ããŠããããšã¯ãæ°å€ä»æ代ã«ãããæ¬æåããžã®éçãèããããã§èŠéããããšãã§ããªãèŠçŽ ãšèšããããThis paper is intended to be discussed FUJIWARA no Yoshitsune âs set of one hundred poems of âroppyakubanuta-awaseâ (The Poetry Match in 600 Rounds held by Yoshitsune in 1192). His waka poems at this time had been made under the influence of âtan-rengaâ and âimayoâ. He is one of the most excellent poets in the age of Shinkokin. Therefore, it is possible to analyze his poems in the Kenkyu period, in order to understand the poetic style of Shinkokin period is important
æºä¿é Œã®åæãšçé£æ
æºä¿é Œãèªãã®ç·šãã ãéèåæéãã«å
æ°éã§åããŠé£æã®éšãèšå®ããããšã¯ãæŽä»£å
æ°éã®ç·šçºå²äžã«ãããŠæ¥µããŠç°äŸã®åºæ¥äºã§ãã£ããä¿é Œã¯èªãã®èãããæ£æšå¥æéãããä¿é Œé«è³ãã«å€ãã®é£æäœç §ãåãããã§ããããšããæããªããã«ãåæã«æ¯ã¹ãŠäžæ®µäœãèŠãããã¡ãªãé£æããšãã圢åŒã«å¯ŸããŠåŒ·ãé¢å¿ãæ±ããŠããæ人ã§ããããã®ä¿é Œãèªããç·šè
ãåããæŽã®æéã«ãé£æããšããåŒç§°ã眮ãããšããããšã¯ãåæãšé£æãšãå®å
šã«åçãšèªãããŸã§ã¯ããããšããçé£æãåæãšãã第äžæèžã«ãããæ¥è¿ããè¡šçŸåœ¢åŒãžãšæçããŠãããšèããŠããããšã瀺ãã§ãããããããŸã§ä¿é Œã®çé£æãç 究ããã«ãããŠã¯ãæè©ïŒç§å¥ïŒãçžèªãšãã£ãåæãšå
±éããã¬ããªãã¯ãçšãã€ã€ããçé£æãåæãšã©ãã»ã©ç°ãªãè¡šçŸåœ¢åŒãšããŠæ°ãã«çºéã»å±éããŠãã£ãããšããããšã«åç¹ãäžãããŠããŠãåæãšã®èŠªåæ§ã«ã€ããŠã¯ããŸãè«ããããŠããªãã£ãããã«æãã確ãã«ãä¿é Œäœã®çé£æã圌ãåéããé£æã調æ»ããŠã¿ããšãäœããã®ãæ¬ãããã£ããšèããããäœåã¯ããã»ã©å€ããªããããããã®äœåãåæããŠãããšããç¹åŸŽã®èªããããäžçŸ€ãååšãããããã§æ¬çš¿ã§ã¯ãä¿é Œãå
è¡åæããçé£æãžãšäœãåãå
¥ããŠãã£ãã®ãããã®æã®çé£æã®æãæ§ã«ã€ããŠåŸæ¥ãšã¯ç°ãªãèŠç¹ããæãçŽããŠãããã®ã§ãããMinamoto no Toshiyori, placed many tan-renga in his own books like âSanbokuki-kashuâ or âToshiyori-zuinoâ, had a great interest in tan-renga which was basically slighted compared to waka poems.It should be certain that tan-renga has matured to be very close form of expression of waka, regarding that he started to use the name of renga in the emperor-sponcered anthology which he was editing.It seems when we study on tan-renga which Toshiyori has related, we emphasize how tan-renga had matured to be the different form of expression of waka, and we have not discussed the affinity of waka for tan-renga.In fact, there are very few piece that has any kind of âmotoâ, or the original pieces in studying his tan-renga and renga that he has collected.But in analyzing these pieces, a particular feature has been founded.Now, I am going to confirm the circumstance of tan-renga in this period from the point of view which is different as usual, by studying what Toshiyori had incorporated in ren-tanga from long-standing waka poems in this article
æŠåŸæè²èª²çšã®å€é·ïŒãçµéšäž»çŸ©ããäžå¿ã«
æ¬çš¿ã¯ã第äºæ¬¡äžç倧æŠåŸãè»åœäž»çŸ©ããæ°äž»äž»çŸ©ãžç€ŸäŒç¶æ³ãå€åããäžã§ãã¢ã¡ãªã«ãããçµéšäž»çŸ©ããæè²èª²çšã«å°å
¥ãããç¶æ³ãæŠèŠ³ããããã«ãããã1958幎ã®æè²èª²çšæ¹èšã«ãããŠæé€ãããæè²èª²çšæ¹èšã®ããã»ã¹ã«ã€ããŠãæ¹ããŠæŽçããªãããæ€èšãããã®ã§ãããç¹ã«ããçµéšäž»çŸ©ããåœæã®æè²èª²çšããæé€ãããçç±ã«ã¯ããã®ç¡èšç»æ§ã系統çã§ãªãããšãå
容ãå人çã§ããã人éæ§éèŠã§æ®éçç¥èã®åŠç¿ã軜èŠããŠããããšãªã©ãææããããã¯ããŸããçµéšäž»çŸ©ããšããŠæ¹å€ããããããããªãããå®ã¯ãçµéšäž»çŸ©çãªåŠã³ã¯ç¥è軜èŠã®åŠã³ã§ã¯ãªãããããç¥èãçµéšåŠç¿ã«å ããŠããããšã§ããåã©ããã¡ã®åŠã³ãæ·±ãŸãããšããããŠãå人çãªåŠã³ãšèšãããã¡ã§ã¯ããããå人ã®çµéšãéããŠå°ãåºãããæ®éçç¥èãååšããããšãããã«ã¯ããããããçµéšãããšããªããªãåŠã³ã¯çã®åŠã³ãšãªããªããšããææãããããšããããçµéšãšç¥èãã€ãªãã åŠã³ããæ¬æ¥æè²èª²çšã«ã¯éèŠã§ããããçµéšäž»çŸ©ãããåŠåãšäººéæ§ã®äž¡è
ãã€ãªããã®ãšãªãããšãææããããŸããããããåŠç¿çè«ã¯ãè¿å¹Žã®æè²èª²çšæ¹èšã«ãããŠããã¢ã¯ãã£ãã©ãŒãã³ã°ãã®å°å
¥ãã瀟äŒã«éãããæè²èª²çšããªã©ã®ããã«æ³šç®ãããŠããç¹ã«ã€ããŠãè¿°ã¹ã
- âŠ