センゴキ ワツジ テツロウ ニオケル ナイザイ ト チョウエツ

This paper investigates into Tetsuro Watsuji\u27s understanding of immanence and transcendence in the postwar period (1945-60), both of which are predominant in Watsuji\u27s philosophy.

アユカワ ノブオ ノ シソウ

In this paper, I attempt to throw light upon thought and idea of the poet, Nobuo Ayukawa (1920-1986) in terms mainly of the intimate relationship and/or the separation between ”immanence” and ”transcendence.”

クキ シュウゾウ ニオケル ナイザイ ト チョウエツ

This study attempts to clarify an overall structure of thoughts of Shuzo Kuki (1888-1941). His thoughts could be classified into four categories:first，thoughts on modality，second，thoughts about time and space，third，thoughts on culture，and finally，thoughts about“Iki”- stylish in Japanese - which forms part of a particular attitude that regards sex in general as cultural representation. Bearing in mind that Kuki\u27 s thoughts are composed of these four aspects， the present study is to examine each category of Shuzo Kuki\u27s thoughts，with special attention to the correlation between immanence and transcendence

オンガク オ アイコウ スル ココロ オ ソダテル ジュギョウズクリ : サッキョク カンショウ ノ ダイザイ オ トオシテ

本研究では，生涯にわたって音楽を希求し，愛好する心を育てる音楽教育のあり方について考察する。そのために，日常生活の中で最も身近に行っている「鑑賞」と最も自己のオリジナリティーを表現しやすい「作曲」を題材として取り上げ，生徒が主体的に取り組むことができる授業のあり方を追究した。生徒が生涯にわたって主体的に音楽を愛好していくためには，その前提となる音楽の基礎的な知識や技術，経験が不可欠である。「型」を理解してこそ， 初めて「個性」を発揮することができると考える。　キーワード：音楽鑑賞・作曲, 音楽の授業, 音楽を愛好する, 基礎的な知識・技術・経

チュウキ ニシダ キタロウ 1925ネン 4ガツ 1932ネン 10ガツ 二オケル ナイザイ ト チョウエツ

In this article, I have examined Nishida’s philosophical development in his middle period (from April 1925 to October 1932), taking two key facets - immanence and transcendence - into account. It is worth noting that two key facets can form the following four patterns: first, “immanence assimilating transcendence,” second, “transcendence assimilating immanence,”third, “immanence separated from transcendence,” and fourth, “transcendence separated from immanence.” I argue that Nishida’s middle period can further be divided into two: the first half (from April 1925 to December 1929) and the latter half (from January 1930 to October 1932). Nishida’s thought in the earlier period (from his earliest days through March 1925) was mainly concerned with “immanence assimilating transcendence,” and yet his focus gradually shifted to “transcendence assimilating immanence.” In the first half of the middle period, the transition of this kind deepened more. As a consequence, “transcendence assimilating immanence” became dominant, while “immanence assimilating transcendence” came to occupy a secondary place. It is notable, however, that this relation was inverted in the latter half of the middle period: “immanence assimilating transcendence” turned to be primary, when “transcendence assimilating immanence” worked secondarily

音響信号の可視化によるコンテンツ視聴者の支援法

電気通信大学200

マルヤマ マサオ ニオケル ナイザイ ト チョウエツ

While discussing in line with my latest work, Masao Maruyama\u27s Conceptions about the History of ldeas (Yoshikawakobunkan, 2003), in which I have reconstructed the historiography of ideas Masao Maruyama (1914-1996) had inquired into, in this paper, I aim to cIarify, furthermor, a deeper structure of the matrix of Maruyama\u27s thought and philosophy. This deeper structure that had been kept functioning througtout Maruyama\u27s career not only links immanence with transcendence but also dissociates one from another.