エイガ バクマン ノ ヒロイン アズキ ミホ ワ ナゼ マテナイ ノカ

The purpose of this paper is to compare the difference between the narrative composition of the movie and the cartoon by the behavior of the heroine “Azuki”, and to examine the characteristics of each media expression. The heroine in the original nestles closely with the main character, but the heroine of the movie leaving the main character. Original manga can be categorized into a genre called manga cartoonist manga. Its characteristic is that it has a multiple structure that serializes in the “Weekly Jump” while exposing the inside of manga production (such as a questionnaire system, artist’s exclusive contract etc..), with the actual editor appearing in real name. The movie always has time constraints. Therefore, elements to be drawn are limited. Movie can’t have a complex structure having two or more motifs simultaneously. The movie “Bakuman” dismantled the multilayered structure that is not good, focused on two pairs of rival relations. The movie is a story of young people who aim for manga artists, aiming for first place in “Weekly Jump” magazine, but is not a youth group image. Mashiro, Takagi two people, one manga artist works hard with a genius manga artist “Eiji Nizuma”, and eventually it is a story of a confrontation that gains first place in a jump magazine questionnaire. In the original, it is a growing story that the leading character Mashiro becomes a cartoonist, and at the same time it is as story that grows as a heroine Miho Azuki as a voice actor. The stratification of the story is here as well. For the hero heroine is a partner and it is also a rival at the same time. In other words, the hero and the heroine have a man’s friendship relationship. In other words, “Bakuman” is also a self-contained story of main character

第2節 日本・ベトナム出土のベトナム焼締陶器の放射化分析(第6章 ベトナム陶磁器の理化学的分析)(III ベトナム陶磁器の理化学的分析)(ベトナムの日本町 : ホイアンの考古学調査)

Chemical studies on the Vietnamese pottery sherds from Vietnam and Japan were carried out to know their provenance, kilns for making them, through the trace element contents by instrumental neutron activation analysis. The Vietnamese pottery sherds used are 14 samples collected on the surface of four old kiln sites (My Xuyen and Phuoc tich, Hue ; Phuoc Ly, Quang tri ; and My Cuong, QuangBinh) and 7 samples excavated at three archaeological sites (Thanh Ha, Hue ; and Dinh Campho and Thanh Chiem, Hoi An) in the central Vietnam and also 13 samples excavated at four archaeological sites in different places in Japan (Nagasaki, Sakai, Kyoto City and Heiankyo, Kyoto). Contents of 12 trace elements such as Rb, Cs, La, Ce, Sm, Eu, Lu, Th, Hf, Co, Sc and Cr, and two major elements Na and Fe in the Vietnamese pottery sherds were analyzed by instrumental neutron activation analysis. These samples (ca.30～50mg) were irradiated for 24 hours intermittently at Rikkyo University Research Reactor, TRIGA Mark n. The activated samples were measured by gamma-ray spectrometry using a high resolution Ge (Li) detector coupled with a 4096 channel analyzer. As a result of the cluster analysis of the element contents of the pottery sherds, probably 13 samples including four Vietnam and nine from Japan, were identified as those from the kilns of My Xuyen, Phuoc tich and Phuoc Ly. It is interesting there are no samples identified to My Xuyen kiln site, supposed to be the late seventeenth century. It agreed with the fact all of the samples from Japan were estimated earlier than that time. Also five samples from both countries have no adequate sources, so it suggests some of undiscovered kiln sites still remain in the central part of Vietnam