Nihohi and the Japanese Scene of Smell

　本稿では、日本人の語感において嗅覚がいかに格別な地位を占めているかを論じる。　京都の染色や日本刺繍、日本画、陶芸などでは今日でも、花の雄蘂・雌蘂その場所のことを「におい」と呼ぶ。これは仏教経典に見える、生命誕生に決定的な役割をはたす匂いの神ガンダルヴァの話を想起させる。どの辞書にも載らないこの使い方は、生命のほのかな、原初的な躍動を嗅覚でとらえる「にほひ」ということばの、最下層の面影を残しているように思われる。　語源的に、「にほひ」は神秘的な生命力を秘める霊的物質水銀とのつながりを示唆する。「二」は水銀の原鉱石の丹砂を指し、「ニホ」は丹砂の産出を意味する「ニフ」や水銀の女神の名前ニホツヒメと明らかに接点をもつ。「にほひ」ということばには視覚と嗅覚が重なり合っている。それは、血のように鮮やかな水銀朱の色を視覚的に表現するいっぽう、視覚ではとらえきれない、丹砂という鉱石の奥をうねり脈打つ生命力の神秘性を嗅覚的にとらえていることを示している。　内在的な生命力のうねりを嗅覚的に表現する「にほひ」の用例は、古典文学に多く見られる。源氏物語ではそれは男女の内在的な美的性的魅力をも意味する。魅惑的なフェロモンのような体臭をもちながら、薫がもっとも恐れていたのは「にほひ」のない男と呼ばれることだった。　日本語では、絵画に与えるもっとも高い評価にも、「声のにほひ」などのように、聴覚のなかのもっとも美しい音声を表現するのにも、「にほひ」が使われる。そして「にほひ」は芭蕉の美学理念の重要なキーワードでもある。日本人の嗅覚は、他の感覚ではとらえきれない物事の奥に秘める生命力や人の心を打つものに対してとくに繊細である。対照的に、中国人の語感において聴覚が格別的で、響きを意味する「韵」が他の感覚を凌駕するキーワードとなることが多い。しかも興味深いことに、「にほひ」の漢字表記「匂」は、「韵」の右半分を取って造られた和製漢字である

Mitate and Haigō

　見立ては、つきつめて言えば、異なる事象たる甲と乙との間に共通した要素を見つけることである。それは、身ぶりしぐさなどの生活の知恵としての見立てから、芸術表現の様式としての見立てまで、幅が広い。美学的価値から言えば、それは大きく二つのレベルに分けることができる。一つは、おもに甲と乙との間の外面的、知的な共通要素を媒介とする見立てである。いま一つは、甲と乙との間の内面的、情趣的な共通要素を媒介とする見立てである。前者は、一般に言う譬喩に近く、比較的素朴で、日常的であるのに対して、後者は、芭蕉の配合に近く、より奥深くて芸術的である。従って、日常生活から芸術表現まで幅広く認められる見立ての究極的な境地は、内面的、情趣的な要素による異質な事象観の配合にあると言える。配合は、内面的、情趣的な要素を媒介にしている上に、素材感に連鎖を与えずに並列させるため、素材間の飛躍が大きくなり、飛躍が大きければ大きいほど、思いがけない新鮮なイメージが躍動してくる。　見立てと配合は、単に芸術の領域にとどまらず、日本の思想や宗教の一般的な特徴にもつながるように思われる。例えば、日本の宗教に悪魔を神に転化するメカニズムが特に顕著にみられるが、これも悪魔のような異質な物に、人間の利益に合致する要素を見つける、一種の見立てである。また、日本にはさまざまな宗教が錯綜しており、一般の日本人でいくつもの異なる宗教をかけもちで関係していることは珍しくない。こうしたことを可能にしているのは、日本人の深層に、異質な物に共通した因子を認め、異質のままに共存させる柔軟な配合の精神が潜んでいるからだと考えられる

On Marx’s Ideology of Capital Civilization

马克思曾用“伟大”来形容资本文明的作用，同时对资本的消极面加以入木三分的鞭笞。资本为什么会产生既文明又野蛮的二律背反呢？产生二律背反的理论根源在哪？为回答这些问题，我们必须深入研究马克思的资本文明思想。 马克思认为资本的本质不是物，而是一种社会生产关系，特指资产阶级社会的生产关系。资本文明就是以资本为原则的社会关系中，由于资本的推动作用而表现出来的文明形态。资本与资本文明之间具有内在的关联。资本文明与资本野蛮是资本矛盾对立统一的两个方面。所以，对资本文明的研究必然同时包括对资本消极影响的研究。 本文共分四章，第一章主要考察文明、资本文明的概念，并概述当代国内外对资本文明的研究状况。第二章从...Marx thought highly of the progressiveness of capital civilization, but at the same time severely castigated the savageness of capital. Why could capital pose such a paradox of progressiveness and savageness? What is the ideology hidden behind the paradox? To approach answers to the above questions, we must carry out profound study on Marx’s ideology of capital civilization. Marx thought that...学位：哲学硕士院系专业：人文学院哲学系_马克思主义哲学学号：1042008115235

神字雑考：杜甫から神の原像へ

What was the original image of the character 神 (Jp. kami: Ch. shén: Eng. “god, deity, divinity”)? And what did it mean to ancient Chinese people? Drawing on sources such as the poetry of Du Fu (712–770 CE), the Guanzi, the Mozi, and the results of recent studies in ancient Chinese archeology and paleography, this essay proposes one theory. It concludes that the Chinese character 神 and the attitude toward divinity held by the ancient Chinese was something very close to shamanism.As it is used in the poetry of Du Fu, the character 神 means something similar to “divine possession.” Body and spirit resonate in tune with the divine, the very soul quakes—Du Fu thought that it was this to which the best poetry should aspire.In the Guanzi and the Mozi, the character 神 does not denote a personal god with human characteristics like substance, a will, or individuality. It is, rather, functional. Yet, much as shamans do, humans must participate in particular practices and demonstrate certain virtues in order to gain access to the divine.The most recent classical Chinese paleographical research indicates that the character 神 originates in an image of a dragon with two mouths. The dragon—that is, the divine—granted life and death through these two mouths. The entity that communed with the dragon was the shaman.In ancient China, then, the relationship between the divine and the human was not one of domination and subordination. Rather, it was the intermingling, reciprocal sense of awareness that was paramount—an idea that has implications for contemporary humans contemplating the relationship between the human and the divine.論

反訓にみる「相反相因」について

The Chinese character luan (亂) bears two contradictory meanings: “chaos” and “order.” Scholar and commentator Guo Pu (郭璞, 276-324) was the first to note the phenomenon of a single character possessing two diametrically opposed meanings. Over the centuries, theories about the phenomenon have proliferated, a debate which has given rise to the scholarly term fanxun (反訓, enantiosemy).Those who resist the concept of fanxun claim that these contradictory meanings are more recently accreted additions that result from the process of jiajie (仮借, phonetic borrowing) rather than meanings that inhere in the character from the start. Supporters of the idea of fanxun -- especially contemporary supporters -- attempt to parse the contradictory meanings as a dialectical conflict.In contrast to these viewpoints, the present paper advances two claims. The first is that, when taking into account the conventions of character creation and the history of character development, the phenomenon of a single character bearing two diametrically opposed meanings is the result of the phenomena of zhuanzhu (転注, derivative cognates) and jiajie (仮借, phonetic borrowing). That is, this paper asserts, even if one accepts the claim that the second, contradictory meaning was a later accretion through the process of jiajie, the conventions of character creation make the appearance of fanxun inevitable. Meanwhile, zhuanzhu and jiajie are conventions of character creation that work to increase the number of characters and the meanings that they bear, and both are based in the same sources of sound and meaning.From this foundation, the paper offers an additional formulation: “opposite meanings, intimately entwined (相反相因, xiangfan xiangyin).” That is, the paper asserts that a character that bears diametrically opposed meanings is not to be understood as a dialectic, but as “opposite meanings, intimately entwined” (i.e., contradictions which exist in intimate relation to each other) -- an understanding of the phenomenon that is characteristically Chinese.論

The cultural concept of Chinese characters in the Chinese palindrome

Nothing expresses the essence and thinking of classical Chinese culture and literature better than the palindrome, although palindromes themselves are not highly ranked. Exhibiting the tendency of classical Chinese literature to present everything in dyads, and to highly value the never-ending cycle between two poles, palindromes are also recognized in the iconography of the Book of Changes (I Ching, 易経), in which the symbols of the 64 hexagrams are arranged as iconographic palindromes. It might be said that these 64 hexagrams represent the "Mandala" of Chinese cosmology. This paper examines and discusses the hypothesis that if it is true that a palindrome is hidden in this Mandala, then not only Chinese cosmology, but Chinese literature in its entirety as a cultural concept is characterized by the phenomenon of the palindrome.論文 (Article

Palindromic Structure in the I Ching

Some pairs of the hexagrams in the I Ching (Book of Changes) may be viewed as having the structure of palindromes, and the elements that make them up may be viewed as palindromes as well. The hexagram 師, (shi, Leading), for example, is the reverse of the hexagram 比 (bi, Grouping), and each of that hexagramʼs six yao 爻 (the whole or broken lines that make up the hexagram) is the reverse of the corresponding yao. The first yao of the hexagram 比, for example, is the sixth yao of the hexagram 師, while the sixth yao of the hexagram 比 is the first yao of the hexagram 師. Whether it can be ascertained if there is in fact a reversible, palindrome-like relationship between these pairs of yao and their commentaries, and whether each of these paired yao shows a correspondence with and reversal of its counterpartʼs meaning is the question this paper takes as its subject. This essay looks at seven pairs of hexagrams in which each yao is the mirror image of that of its corresponding hexagram, and, on the basis of the commentaries on each of the forty-two yao, for a total of eighty-four, determines that almost all of the pairs show this palindromic conversion of meaning.論

Looking at concepts of Chinese culture in the Chinese language through Chinese painting

　My research into concepts of Chinese culture in the Chinese language seeks the contemporary meanings of those concepts by examining the relationships that connect the structure of Chinese characters to Chinese words and the characteristic features found in the modes of thought typical of the cultural and geographical regions that use or were influenced by the character. This research paper, focusing on painting, explores the relationships between various aspects of Chinese painting and Chinese cultural concepts as they occur in the Chinese language.　Western thinking is very insistent on separating painting from poetry. In contrast, this paper concentrates on the connection between Chinese painting and poetry in order to argue that the origin of Chinese painting resides in poetry-that, Chinese painters do not imitate nature, but paint as if they were writing a poem. I argue, moreover, that a search for the primitive form of Chinese painting leads back to the patterns in oracle bone scripts and bronze ware.論文 (Article

高分子/炭酸カルシウム薄膜ハイブリッドの形態制御と機能化

学位の種別:課程博士University of Tokyo(東京大学

基于Chirp-BOK扩频的水声通信系统

利用线性调频(Chirp)信号在水下通信中具有良好的抗噪声和抗多径特性,提出基于Chirp-BOK(binary orthogonal keying,二进制正交键控调制)扩频的水声通信系统。系统采用二进制正交键控调制以及匹配滤波接收器,利用正向调频信号和反向调频信号,结合BOK调制技术,实现适合水声环境的扩频通信系统。噪声信道和多径信道下的仿真实验结果表明,该系统具有良好的抗噪声和抗多径性能,适用于水声系统的扩频通信。国家自然科学基金项目(61701422);;福建省自然科学基金项目(2017J01785,2016J01323);;厦门理工学院高层次人才项目(YKJ15034R);;水声通信与海洋信息技术教育部重点实验室(厦门大学)开放课题基金(201602