Shūkyō to sono shinri -- Shūkyō no rikai -- Kami ni tsuite.

Motile eukaryotic cilia and flagella are hair-like organelles responsible for cell motility and mucociliary clearance. Using cryo-electron tomography, it has been shown that the doublet microtubule, the cytoskeleton core of the cilia and flagella, has microtubule inner protein structures binding periodically inside its lumen. More recently, single-particle cryo-electron microscopy analyses of isolated doublet microtubules have shown that microtubule inner proteins form a meshwork inside the doublet microtubule. High-resolution structures revealed new types of interactions between the microtubule inner proteins and the (...) tubulin lattice. In addition, they offered insights into the potential roles of microtubule inner proteins in the stabilization and assembly of the doublet microtubule. Herein, we review our new insights into microtubule inner proteins from the doublet microtubule together with the current body of literature on microtubule inner proteins. High-resolution cryo-electron microscopy structure of the doublet microtubule from Tetrahymena reveals insights into the interactions between microtubule inner proteins with the doublet microtubule tubulin lattice and implication of their functions in the stability and assembly of the doublet microtubule. (shrink)

社会の最底辺から撃つ、未来とは過去である、論文を書くといったモットーで歴史を築いてきた法政大学・社会思想史ゼミの集大成論文集.

唐宋を結ぶ五代十国時代にあって「一心」により中国仏教を統合し、その思想を『宗鏡録』一〇〇巻に著わした禅僧、永明延寿の全体像を本格解明。巻末には新出史料、『永明智覚禅師方丈実録』の翻刻と訳注を付す。中国 仏教思想史に新たな息吹を伝える迫真の論考!

This article studies the treatment effect models in which individuals are classified into unobserved groups based on heterogeneous treatment rules. By using a finite mixture approach, we propose a marginal treatment effect framework in which the treatment choice and outcome equations can be heterogeneous across groups. Under the availability of instrumental variables specific to each group, we show that the MTE for each group can be separately identified. On the basis of our identification result, we propose a two-step semiparametric procedure (...) for estimating the group-wise MTE. We illustrate the usefulness of the proposed method with an application to economic returns to college education. (shrink)

Previous research suggested a role of gaze in preference formation, not merely as an expression of preference, but also as a causal influence. According to the gaze cascade hypothesis, the longer subjects look at an item, the more likely they are to develop a preference for it. However, to date the connection between viewing and liking has been investigated predominately with self-paced viewing conditions in which the subjects were required to select certain items from simultaneously presented stimuli on the basis (...) of perceived visual attractiveness. Such conditions might promote a default, but non-mandatory connection between viewing and liking. To explore whether the connection is separable, we examined the evaluative processing of single naturalistic food images in a 2 x 2 design, conducted completely within subjects, in which we varied both the type of exposure (self-paced versus time-controlled) and the type of evaluation (non-exclusive versus exclusive). In the self-paced exclusive evaluation, longer viewing was associated with a higher likelihood of a positive evaluation. However, in the self-paced non-exclusive evaluation, the trend reversed such that longer viewing durations were associated with lesser ratings. Furthermore, in the time-controlled tasks, both with non-exclusive and exclusive evaluation, there was no significant relationship between the viewing duration and the evaluation. The overall pattern of results was consistent for viewing times measured in terms of exposure duration (i.e., the duration of stimulus presentation on the screen) and in terms of actual gaze duration (i.e., the amount of time the subject effectively gazed at the stimulus on the screen). The data indicated that viewing does not intrinsically lead to a higher evaluation when evaluating single food images; instead, the relationship between viewing duration and evaluation depends on the type of task. We suggest that self-determination of exposure duration may be a prerequisite for any influence from viewing time on evaluative processing, regardless of whether the influence is facilitative. Moreover, the purported facilitative link between viewing and liking appears to be limited to exclusive evaluation, when only a restricted number of items can be included in a chosen set. (shrink)

The long Japanese tradition of Korean ceramics appreciation, closely associated with the Zen tea ceremony _(chanoyu), _has played an important role in the development of Korean aesthetics in the twentieth century. The art critic and philosopher Yanagi Soetsu was instrumental in this process during the occupation period, since, continuing in this tradition, he particularly valued Joseon ceramics for their aesthetic qualities - such as naturalness, nonchalance, and simplicity - akin to praised values in Zen Buddhism. Yanagi’s pioneering writings (...) might have been influential in the prevalence of those traits when defining Korean art and aesthetics in general. After a brief presentation of key expressions defining Korean art and aesthetics, the paper focuses on Yanagi’s aesthetic assessment of Joseon ceramics and particularly on his proposal of its appreciation beyond the modern Western division between art and craft. (shrink)

1. Ikkŭnŭn mal -- 2. Han nara ŭi yet kŭlssi ro tora kaja : K'ang Yuwei, sŏye wa mihakchŏk chŏnhwan -- 3. Chosŏn ŭi yesul ŭn illyu ŭi pigŭk ŭl tamnŭnda : Yanagi Muneyosi, minye uĭ palgyŏn -- 4. Nŏhŭi nŭn T'ap ŭi himch'am ŭl poannŭn'ga : Ko Yu-sŏp, Han'guk hyŏndae mihak ŭi t'ansaeng -- 5. Naganŭn mal.

> The Japanese have a word which summarizes all the best in Japanese life, yet it has no explanation and cannot be translated. It is the word shibui, and the best approximation to its meaning is 'acerbic good taste'.—James A. Michener in Iberia The austere beauty of lacquerware, the wizened lines and thickened trunk of a 100-year-old bonsai, the veiled beauty of murky jade—what do all these have in common? These are the qualities of shibumi, a Japanese aesthetic defined by (...) the seven characteristics described by Dr Yanagi Soetsu1 in The Unknown Craftsman: simplicity, implicity, modesty, naturalness, everydayness, imperfection, silence. Derived from the root word shibui, literally meaning ‘bitter’, the antonym of amai, for sweet—the etymology of shibusa encapsulates the jolting acerbity of one inadvertently sinking her teeth into an unripe persimmon; paradoxically described as a moment of inward transcendence. Quite distinct from wabi-sabi—while pottery and stoneware may be embraced for organic lines reflecting naturalness and imperfections as an aesthetic; within the distillation of shibumi, beyond the asymmetrical and flawed, lies an appreciation of ‘beauty with inner implications’ that ‘allows depth of feeling to be visible through spare surface design thereby manifesting the invisible core that …. (shrink)

Prompted by Heidegger’s search for great art in the modern times, this paper looks into crafts as answering the philosopher’s frustrated call. Using Soetsu Yanagi’s idea of a “religion of beauty,” which turns to the ordinary as beautiful, it suggests that crafts—carefully made by hand while considering its affinity with nature and the human body that uses it—is a way of being, the way Heidegger described the way of “dwelling poetically.”.

Might aesthetic imperfections play an edifying role in the lives of moral agents? Drawing on the work of Aurel Kolnai, R. F. Holland, Yuriko Saito, and Soetsu Yanagi, this paper argues that aesthetic imperfections, especially of the everyday variety, can sustain our sense that life is worth living, thereby ethically edifying our lives. Cultivating the ability to find beauty in everyday aesthetic imperfections helps to preserve us in dark times. The beauty of the chipped, gnarled, and otherwise blemished can (...) reveal the goodness of a flawed world, indeed in a more powerful way than can the beauty of less flawed objects. -/- . (shrink)