Fatigue Damage in Wood Under Pulsating Multiaxial-Combined Loading

A fatigue test was performed under axial-torsion combined loading, with the aim of investigating fatigue damage in wood under multiaxial stresses. This research particularly focused on the energy loss captured during fatigue tests and the fatigue limit for wood. Air-dried samples of Japanese cypress were used for the tests. An electrohydraulic servomachine that could apply axial and torsional loads simultaneously was used for the fatigue tests. An axial load was applied in the fiber direction (along L), and torque was applied around the axis in the same direction as L. A pulsating triangular axial load was applied in the longitudinal direction at 1 Hz while each specimen was also simultaneously subjected to a twisting moment at the same phase. On the basis of the experimental results of the fatigue tests, energy loss was obtained from the stress-strain curve at each loading cycle and examined precisely in relation to the number of loading cycles and combined stress states. The energy loss per cycle in the dominant stress was large and increased gradually toward fatigue failure. The stress level was so high that the energy loss per cycle was extremely large. In the relationship between cumulative energy loss and the number of loading cycles, the cumulative energy loss was so large that the fatigue life was extremely long. The cumulative energy loss for shear in the compression group was larger than that in the tension group. The mean energy loss per cycle for the fatigue limit was also presumed from the relationships between mean energy loss per cycle, stress amplitude, and fatigue life, and was estimated to be about 10 kJ/m3/cycle, as determined on the basis of the equivalent stress principle. That is, the fatigue life will be infinite when the energy loss per cycle is below 10 kJ/m3/cycle

少女文化を読み解く/OTOME展によせて

この報告は、2010年10月17日～27日まで、神戸市のギャラリーにて開催された「OTOME展」についてのものである。「おとめ」とは何か、ただ単に「女性」や「少女」をテーマにしただけのイラスト展ではなく、インターネットのない時代から現代まで「カルチャーの原点は雑誌である」という仮説のもと、日本で最初の「少女まんが」は何か、少女まんがに影響された「叙情画」とは何か、昭和初期と現在の少女の文化はどう変化していったかということと、サブカルチャーの今までのあり方、さらにこれからのあり方を想定し、社会的背景や、ジェンダーの問題がどのように少女文化に影響を与えたのか、などの問題をふまえた上で、現在流行している「タレント本」から、細分化された「まんが」「ゲーム」「ライトノベル」などに登場するキャラクターの変化や、また別の切り口として「少女まんがは異端の文化」である事を理論付け、男性から見た現代の「OTOME」の姿と、女性から見た原点の「OTOME」の像を、イラストという形態でアウトプットし、展示した時に生じる何らかの差異が表面化できるかどうか試みたのが、今回の主旨でもある。This report is about ”OTOME exhibition” exhibited at an gallery in Kobe from 17th to 27th of October in 2010.What is “OTOME (the meaning is girl in Japanese)” ?It is not only illustrations exhibition that the theme is “woman” or “girl”. After supposing that what “the first girls cartoon” in Japan is, what “Jyojyo-ga (lyric picture)” influenced by girls cartoon is, how the girl’s culture has changed since early Showa period until today and how subculture has existed until now besides how it will exists hereafter from resting on the supposition that “ the source of culture is magazines” from early Showa period until today and referring to that social background and how the matter of gender has affected girl’s culture, we developed a theory that change in characters in “famous people’s essay” popular nowadays, “comic”, “computer game”, “light novel” and also the fact ”girl’s cartoon is heterodox culture” as another light and experimented whether we make any difference from exhibiting the works come to the surface or not by outputting a modern figure of “OTOME” from men’s point of view and an original figure of “OTOME” from women’s point of view by drawing illustrations. This experiment is our theme

静止画から作るマンガ動画のディレクション/未経験者を使ったローコストでの制作方法

　本研究は2021 年6 月から2021 年12 月までの期間、「神戸市消費生活センター」から依頼を受け、受託研究として行った「マンガ動画の作成」の制作方法と記録である。　動画の制作が専門ではなく、予算・人員が限られているなか、2 分〜3 分のアニメーションを3 本制作。YouTube にアップロードできる仕様に整えた。　さらに動画の視聴促進ツールとして、ポスター・チラシの作成を行った。その流れと過程を報告する。　成年年齢が2022 年4 月から18 歳に引き下げとなる。それに伴い、様々な消費トラブルが想定される。そこで、若者に注意を喚起する目的で、親しみやすいショートムービーを制作することにした。　This research is a production method and record of "Manga Movie Creation", which was commissioned by the "Kobe Consumer Affairs Center" in June 2021.　I don\u27t specialize in video production. There is no budget or personnel. However, I made 3 animations of 2 to 3 minutes. Finally, we prepared the specifications so that it can be uploaded to YouTube. We created posters and leaflets as a tool to promote videos. We will also report on the flow and process of production.　The adult age will be reduced from April 2022 to 18 years old. Along with that, various consumption troubles are expected. The purpose of the production is to attract the attention of young people. However, the video should be familiar and easy to understand

まんがの絵をデザインは何故忌避するのか。

まんが編集の現場に潜在的に存在する「まんがの絵」とデザインの齟齬ないしは回避について問題の整理を行った。まんが雑誌、まんが単行本の表紙デザイン、装丁においてデザイナーはまんが表現の色彩、アイコンとしてのキャラクター、筆致の要素との衝突を回避するため、それらの要素をデザイン処理で削ごうとする傾向にある。この問題の起源を考えるためには「まんがの絵」が「構成」としてもくろまれたという事実に注意すべきである。The problem of the discrepancy or the evasion of “Pictureof the cartoon” that existed in potential on the site of thecartoon editing and the design was arranged. Whencover design and binding cartoon magazines aredesigned, the designer tends to start reducing in processthe design to evade the collision with the element of thecolor of cover reality, the character as the icon, and thetouch those elements. It is necessary to note the fact that”Picture of the cartoon” was planned as “Composition” tothink about the origin of this problem

クリエイティブ職に必要な『ポートフォリオ制作BOOK・入門編』の作成

　芸術・デザイン系大学生の就職活動で、クリエイティブ職を希望するにあたり、「ポートフォリオ」の提出はほぼ必須である。　しかし、学生が自身のポートフォリオを作成するに際し、ポートフォリオの作り方を指導する授業は、各学科で取り組みが異なり、しかも必ずしも全ての学科で開講されるわけではない。　筆者はキャリアセンターからの要請により、学科を問わず受講できる「ポートフォリオ作成講座」を開講し4 年経つが、その経験から今回の『ポートフォリオ制作BOOK・入門編』を制作するに至った。自分の作品を見直す事も含め、作品に合った「フォント」や「余白」などをまずテンプレート化し、レイアウトに関わってこなかった学生でも最初の1 冊を作れる内容にした。　この冊子の基本的な対象は2〜3 年生である。2 年生の早い段階から、ポートフォリオの重要性を知り、普段から自身の作品の見直しや、作品データの管理、自主制作課題への積極的に取り組む姿勢を持ってもらうだけではなく、早い時期から進路について考えるきっかけになればと考える。Submission of a "portfolio" is almost indispensable in order to seek a creative job in job hunting for arts and design students. However, when students create their own portfolios, classes that teach how to create a portfolio differ in approach in each department, and are not necessarily offered in all departments. I started "Portfolio course" at the request of the Career Center, and has continued for 4 years, and from that experience, I came to produce this "Portfolio production BOOK · introductory edition". First of all, I made templates, such as "font" and "margins" that fit my work, including reviewing my work, and made it possible for students who were not involved in layout to make the first book. The basic target of this booklet is 2nd to 3rd students. With these efforts, I hope that students will be able to understand the importance of the portfolio from the early stage of the second grader. And I would like the students to be able to review their own work and manage their data on a regular basis. In addition, I want students to actively work on independently produced works and start thinking about their own path from an early stage

Comparative proteomic analysis of Salmonella enterica serovar Typhimurium ppGpp-deficient mutant to identify a novel virulence protein required for intracellular survival in macrophages

<p>Abstract</p> <p>Background</p> <p>The global ppGpp-mediated stringent response in pathogenic bacteria plays an important role in the pathogenesis of bacterial infections. In <it>Salmonella enterica </it>serovar Typhimurium (<it>S</it>. Typhimurium), several genes, including virulence genes, are regulated by ppGpp when bacteria are under the stringent response. To understand the control of virulence genes by ppGpp in <it>S</it>. Typhimurium, agarose 2-dimensional electrophoresis (2-DE) combined with mass spectrometry was used and a comprehensive 2-DE reference map of amino acid-starved <it>S</it>. Typhimurium strain SH100, a derivative of ATCC 14028, was established.</p> <p>Results</p> <p>Of the 366 examined spots, 269 proteins were successfully identified. The comparative analysis of the wild-type and ppGpp⁰mutant strains revealed 55 proteins, the expression patterns of which were affected by ppGpp. Using a mouse infection model, we further identified a novel virulence-associated factor, STM3169, from the ppGpp-regulated and <it>Salmonella</it>-specific proteins. In addition, <it>Salmonella </it>strains carrying mutations in the gene encoding STM3169 showed growth defects and impaired growth within macrophage-like RAW264.7 cells. Furthermore, we found that expression of <it>stm3169 </it>was controlled by ppGpp and SsrB, a response regulator of the two-component system located on <it>Salmonella </it>pathogenicity island 2.</p> <p>Conclusions</p> <p>A proteomic approach using a 2-DE reference map can prove a powerful tool for analyzing virulence factors and the regulatory network involved in <it>Salmonella </it>pathogenesis. Our results also provide evidence of a global response mediated by ppGpp in <it>S. enterica</it>.</p

キャラクターイラストレーション領域の概念整理と方法論確立のための基礎研究

まんが表現における作画技術教育の前提として必要なのは、まんが表現史的な視点である。手塚治虫系のキャラクター表現に関しては、田河水泡とディズニーの作画方法を構成主義的に解釈した「ミッキーの書式」に基づくことが指摘されているが、本報告では少女まんが領域における「ミュシャの書式」（すなわちヨーロッパの19世紀末から、アール・ヌーヴォー、アール・デコなどの挿絵や広告画の援用・解釈に基づく「書式」）の所在について仮説的に述べる。1901年、与謝野晶子『みだれ髪』の表紙に藤島武二がミュシャふうの意匠を採用し、近代女性文学における「私」と「ミュシャ」的表象が結びつく。そして1970年代に少女まんが領域で「内面の発見」がなされた時、それを主導したいわゆる「24年組」によって再度「ミュシャの書式」が再受容された。「ミュシャの書式」は一見、キャラクター的、非歴史的に見えながら、日本近代の少女まんがを含む女性表現では近代的自我や身体性、政治性を包摂しうる表象として出発し、「24年組」の背後にある近代史的文脈を理解することはまんが教育として重要である。Perspectives based on knowledge of the history of manga expressions are essential for learning manga drawing techniques. It has been pointed out, for instance, that manga characters in the Osamu Tezuka vein are based on the “Mickey\u27s format” which was a Constructivist reinterpretation of the drawing methods of Suiho Tagawa and Walt Disney. This report discusses the hypothesis that an “Alphonse Mucha format” (based on the influences and reinterpretations of Art Nouveau, Art Deco and other late-19th century illustrations and advertising art) exists within the shojo manga genre. In 1901, Takeji Fujishima adopted a Mucha-esque design for the cover of Midaregami (Tangled Hair) by Akiko Yosano, bringing together for the first time the Mucha-like image and the “notion of self” in modern Japanese women’s literature. In the 1970s the Alphonse Mucha format was adopted again, this time by the Year 24 Group of shojo manga artists, who spearheaded the “exploration of the inner self” in shojo manga stories. At first glance the Alphonse Mucha format seems ahistorical and to concern only the external appearance of manga characters. However, within modern Japanese female expressions including shojo manga, the Alphonse Mucha format originated as imagery capable of suggesting the modern ego, physicality, and political nature, and as such, understanding the modern historical context of the Year 24 Group bears significance to manga education

Real-world management of treatment-naïve diabetic macular oedema : 2-year visual outcome focusing on the starting year of intervention from STREAT-DMO study

Background/aims To investigate the yearly change of real-world outcomes for best corrected visual acuity (BCVA) after 2-year clinical intervention for treatment-naïve diabetic macular oedema (DMO). Methods Retrospective analysis of aggregated, longitudinal medical records obtained from 27 retina specialised institutions in Japan from Survey of Treatment for DMO database. A total of 2049 treatment-naïve centre involving DMO eyes of which the initial intervention started between 2010 and 2015, and had been followed for 2 years, were eligible. As interventions, antivascular endothelial growth factor (VEGF) agents, local corticosteroids, macular photocoagulation and vitrectomy were defined. In each eye, baseline and final BCVA, the number of each intervention for 2 years was extracted. Each eye was classified by starting year of interventional treatment. Results Although baseline BCVA did not change by year, 2-year improvement of BCVA had been increased, and reached to +6.5 letters in the latest term. There is little difference among starting year about proportions of eyes which BCVA gained >15 letters, in contrast to those which lost >15 letters were decreased by year. The proportion of eyes receiving anti-VEGF therapy was dramatically increased, while those receiving the other therapies were gradually decreased. The proportion of eyes which maintained socially good vision of BCVA>20/40 has been increased and reached to 59.0% in the latest term. Conclusion For recent years, treatment patterns for DMO have been gradually but certainly changed; as a result, better visual gain, suppression of worsened eyes and better final BCVA have been obtained. Anti-VEGF therapy has become the first-line therapy and its injection frequency has been increasing

Real-world management of treatment-naïve diabetic macular oedema in Japan : two-year visual outcomes with and without anti-VEGF therapy in the STREAT-DME study

Background/Aims To investigate real-world outcomes for best-corrected visual acuity (BCVA) after 2-year clinical intervention for treatment-naïve, centr-involving diabetic macular oedema (DME). Methods Retrospective analysis of longitudinal medical records obtained from 27 institutions specialising in retinal diseases in Japan. A total of 2049 eyes with treatment-naïve DME commencing intervention between 2010 and 2015 who were followed for 2 years were eligible. Interventions for DME included anti-vascular endothelial growth factor (VEGF) therapy, local corticosteroid therapy, macular photocoagulation and vitrectomy. Baseline and final BCVA (logMAR) were assessed. Eyes were classified by the treatment pattern, depending on whether anti-VEGF therapy was used, into an anti-VEGF monotherapy group (group A), a combination therapy group (group B) and a group without anti-VEGF therapy (group C). Results The mean 2-year improvement of BCVA was −0.04±0.40 and final BCVA of >20/40 was obtained in 46.3% of eyes. Based on the treatment pattern, there were 427 eyes (20.9%) in group A, 807 eyes (39.4%) in group B and 815 eyes (39.8%) in group C. Mean improvement of BCVA was −0.09±0.39, –0.02±0.40 and −0.05±0.39, and the percentage of eyes with final BCVA of >20/40 was 49.4%, 38.9%, and 52.0%, respectively. Conclusion Following 2-year real-world management of treatment-naïve DME in Japan, BCVA improved by 2 letters. Eyes treated by anti-VEGF monotherapy showed a better visual prognosis than eyes receiving combination therapy. Despite treatment for DME being selected by specialists in consideration of medical and social factors, a satisfactory visual prognosis was not obtained, but final BCVA remained >20/40 in half of all eyes

Chapter V: Ecosystem

Characteristics of grassland soil of the northeastern Mongolia ......89Species composition of grassland in central Mongolia ......90Vegetation recovery from abandoned vehicle tracks ......92Vegetation and grazing impact in a Mongolian grassland ......93Influence of gazing on grassland water and energy balance ......94Productivity of grassland in central Mongolia ......9