The Effect of the Gravitation of the Moon on Frequency of Births

The purpose of this study was to examine the influence of the gravitation of the Moon on the frequency of births in Kyoto, Japan. A retrospective cohort analysis of 1007 consecutive births without the use of the induction agents was conducted on a population of births in a private midwife hospital from January, 1966 to December, 2000. There was a significant increase in the cases of births, when the gravitation of the Moon to the Earth was less than 31.5 N. Results of this study suggest that the gravitation of the Moon has an influence on the frequency of births

New modified laparoscopic Davydov’s method using the rudimentary uterus

Among surgical procedures of Mayer-Rokitansky-Kuster-Hauser (MRKH) syndrome, the laparoscopic Davydov's technique seems to offer the most feasible and effective approach for creating a neovagina. Several reports have pointed at the necessity for mobilization of the peritoneum to obtain a longer neovagina and have reported a modified laparoscopic Davydov’s method. A new method was performed for a 24- and an 18-year-old patient. The most significant method in present procedure was to leave the thickened tissue that connects both rudimentary uteruses. The advantages of present procedure are physiological, creating a longer neovagina. Furthermore, this approach may help prevent prolapse of pelvic organs by leaving the thickened tissue as a ceiling

ジョン ドス パソスノショキセンソウショウセツトオトコラシサノモンダイ

John Dos Passos(1896-1970)の初期戦争小説、One Man\u27s Initiationー1917(1920) と、Three Soldiers(1921)は作家の第一次世界大戦の実体験をもとにしている。前者は戦争の暴虐を主人公の視点に寄り添って主観的に描き後者は軍隊における個人の抑圧を複数の視点から表現し、主人公達の敗北的生き様には「男らしさ」が欠如しているという批判を浴びた。しかし、Dos Passosは「男らしさ」の問題について決して無関心ではなかった。彼は複雑な家庭環境から、精力的な父親にある種の畏怖の念をいだきつつ、自らの男性性に不安をおぼえていたと考えられる。折しも第一世界大戦は旧来の価値観に暴力的な終焉をもをたらし、「男らしさ」の理想は再編成を迫られていた。そしてDos Passosは作家を志すとともに、亡き父の期待に応えんとして誇り高き男になることを目指した。この二重の野心において、彼は20世紀のモダンな男性小説家というものを再定義せざるを得なかったのである。Dos Passosは、小説家という生業は一人前の男が誇るに足る立派な仕事であると主張した。彼が目指したのは、科学者のそれに匹敵する客観的観察力と表現力を備えた「歴史の建築家」としての小説家であった。そしてその精力的な仕事において、理想的な芸術作品は、対象への関与と超然の弁証法的統合から産まれると彼は述べている。InitiationとSlodiersにおける芸術家主人公達には、Dos Passos が目指す理想の創作の可能性が読みとれる。好奇心に突き動かされるInitiation の Martin Howe は、Soldiers において、自由を希求する活動の重要さに覚醒しつつも身を投じ得ぬ John Andrews へとつながる。彼らの野心は未然に終わるが、そうした関与と超然の狭間にこそ、成年男子の証となるべき優れた作品は産まれ得るのである。客観的視点と表現の達成を見るには、より成熟した後の作品群を待たねばならないが、Dos Passos の初期戦争小説には、新しい時代の小説家としての独自の「男らしさ」への模索がつづられている。

ジョン・ドス・パソスの『マンハッタン乗換駅』における二つの歴史軸

John Dos Passos represents New York of the early 20th century in his first major novel Manhattan Transfer (1925) . In the novel, he desplays innovative narrative techniques, where newspaper headings, phrases from songs and rhymes, and fragmentary sketches of lives of numerous city dwellers are collaged. At the same time, silent monologues and stream of consciousness techique are merged with external portrayals of people. Then, he integrates. two ideas of history in the novel, i.e., the diachronic and synchronic. With the sense of deachronic history, he gives the picture of New York as the modern metropolis, where expansion and progress operate as the landmark; and he adds the elements of synchronic history to his account of the city through numerous references to mythic texts such as the Bible, nursety rhymes, and the Declaration of Independence. Consequently, the tension between the deachronic and synchronic history becomes a creative vehicle to produce a contemporary yet perennial vision of the urban city. This paper examines the two aspects of history integrated in this novel and proves how they function to produce a vital portrait of New York. First, the diachronic dimension of the novel is investigated along with the motif of newspaper, which is the media most relevant and usefull to convey the development of linear history. Next, the synchronic aspects of the novel are analyzed, as the references to the Tower of Babel, the Deluge, Lady Godive, and American myths are explicated. Finally, as the tension between the two historical ideas functions as a source of creation for Dos Passos, the same principle is applied to examine the case of Jimmy Herf, to imply how the would-be artist in the novel mighty prepare himself of creativity. The integration of the diachronic and synchronic history is indicated as a valid method to grapple with the vast phenomena of the modern world

マーガレット アトウッド ノ ジジョ ノ モノガタリ ニ オケル ブンガクテキ シンビセイ

Margaret Atwood\u27s The Handmaid\u27s Tale drew great public attention since its publication in 1985. Its literary aesthetics, however, has been undermined by the overt political concerns on problems of women\u27s right, fundamentalist theocracy, environmental crisis, authoritarian academism, etc. For the fair evaluation of the novel, we should reexamine its literary merits over its political messages. The novel consists of the two parts: "The Handmaid\u27s Tale" and the epilogue entitled "Historical Note." The former main narrative is told by Offred, a "Handmaid" in the 21^ century fictive Giledean Republic. Offred\u27s story carries literary aesthetics, which appeal to postmodern readers today. Her stories are painfully fragmented just as her body is violently mutilated by the strict regime. Offred, then, as any other literary-minded person, is highly selfconscious of her act of story-telling. She self-reflectively refers to how she is dealing with her stories for survival. Deprived of freedom to read and write, Offred is vigilant on the power of words including one\u27s own name. Then, almost obsessed with the word, she insists on the act of reconstruction. What she produces is not the truth but always reconstruction. Her openness to plural interpretations manages to represent what has and might have happened in and to herself. The epilogue works as a frame narrative to "The Handmaid\u27s Tale" and reveals how Prof. Pieixoto and his co-researcher compiled the random cassette tapes into the "The Handmaid\u27s Tale." He only values it as a historical resource for his study. Consequently, Offred\u27s accounts of her troubled existence are totally lost for him. Then, it seems that Atwood has deliberately characterized Pieixoto to indicate how readers should not approach Offred\u27s Tale. Moreover, if we should curtail this novel as merely, for example, a feminist-dystopian novel, we must leave out the essence of the literary aesthetics of the novel. In order to avoid such misreading, we should be careful to pay our attention to the literary merits of the novel in its act of story-telling and not to yield to the political messages it carries. Though the political feature of the novel need not be at all denied, the literary aesthetics of the novel should be properly estimated for the fair evaluation of the novel

Deromanticizing War:John Dos Passos\u27s Critique of Theodore Roosevelt in 1919

第一次世界大戦は近代的兵器を導入した列強国による史上初の総力戦であった。ジョン・ドス・パソス（John Dos Passos 1896-1970)はこの大戦下に成人したいわゆる「失われた世代」の一員である。ひとつ前の世代が戦争に名誉や男らしさの具現を見出したのとは対照的に、彼らはこの不毛な大量殺戮の前に、いかなる幻想を抱くこともできなかった。ドス・パソスは『U.S.A.』三部作の第二部『1919』（1932）において、自らの世代にとっての戦争の再定義を行っている。ドス・パソスは『1919』において、第26代大統領セオドア・ローズヴェルト（Theodore Roosevelt 1858-1919)の伝記的スケッチを「幸せな戦士」（"The Happy Warrior")と銘打ち、その戦争観を鋭く風刺している。彼はまず、戦争をめぐるローズヴェルトのロマンティシズムを誇張することでその独善性を揶揄する。そして、米西戦争における好戦的愛国主義者ローズヴェルトと、第一次世界大戦における語り手の体験を並置することで、ローズヴェルトの戦争観が近代戦争においていかに無効であるかを強調している。さらに彼は、ローズヴェルトとの対比において、無名戦士の伝記を「アメリカ人の遺体」と題し、20世紀の戦争の本質を描いている。つまり、モダニティの負の先鋒としての戦争は、個人の固有性を無化し、人間の生を否定するものに他ならない。ドス・パソスは『1919』においてローズヴェルトの戦争観を厳しく批判することで、戦争をめぐるロマンティズムを徹底的に糾弾し、「幸せなアマチュア戦士」の時代は終わり、誰もが「無名の戦士」とならざるを得ない新しい時代の戦争観を提示したのである。World War Ⅰwas the first modern war of advanced technology fought among the world powers. John Dos Passos (1896-1970) is one of the Lost Generation writers who is defined by coming of age during WWI. His experiences of the war allowed for no illusion about warfare being an arena for valor, glory, and manly achievement, as the previous generation conceived. Dos Passos in 1919(1932) reconfigures the meaning of war for his generation. Dos Passos\u27s sarcastic representation of Theodore Roosevelt(1858-1919) in "The Happy Warrior" section of 1919 serves as the focus of this paper and illustrates how Dos Passos reassesses his conceptualization of war. "The Happy Warrior" is a strong statement against America\u27s older generation who could afford to romanticize war and make their entire life a battlefield to prove their honor and manliness. Furthermore, Dos Passos\u27s contrast between the jingoistic Rough Rider and the "gentlemen volunteers" of the ambulance corps in WWI represented in The Camera Eye (32) discloses the failure of the morale of the ex-volunteer cavalry leader in the modern world. The greatest irony is revealed in the author\u27s contrast between the happy amateur warrior and the unknown soldier in "The Body of an American," as the nameless Everyman illustrates deprivation of individuality in the name of war. By investigating how Dos Passos deromanticizes war through his critique of Theodore Roosevelt in the context of WWI, we are able to clarify the nature of modern war as the writer saw it-that Roosevelt, the faded war hero, failed to discern