WEKO3
アイテム
{"_buckets": {"deposit": "98676122-bdbd-454e-aadf-6f0829ee0887"}, "_deposit": {"id": "16554", "owners": [], "pid": {"revision_id": 0, "type": "depid", "value": "16554"}, "status": "published"}, "_oai": {"id": "oai:repository.dl.itc.u-tokyo.ac.jp:00016554", "sets": ["762", "761"]}, "item_4_biblio_info_7": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "2012-03-01", "bibliographicIssueDateType": "Issued"}, "bibliographicPageEnd": "192", "bibliographicPageStart": "177", "bibliographicVolumeNumber": "10", "bibliographic_titles": [{"bibliographic_title": "言語情報科学"}]}]}, "item_4_description_5": {"attribute_name": "抄録", "attribute_value_mlt": [{"subitem_description": "At the end of the 19th century, the reaction against French Impressionism in the British art world was twofold. Firstly, the reaction was highly Francophobic, and was rooted deeply in the discourse of degeneration as French Impressionism provoked a sense of fear for neurotic exhaustion of the metropolitan life. On the other hand, there was New English Art Club, a group of independent artists who chose to train themselves in France denying the \"rear-guard\" British Royal Academy of Art; yet in spite of their apparent antipathy toward the Academy at the beginning, such artists among New English as George Clausen at the head of the list were absorbed into the system of the Academy around the turn of the 20th century. It was because the simplified images of agricultural life that they painted satisfied the viewers\u0027idyllic imagination. And their paintings were partly contiguous to those of the Academy landscape painters who preceded them, in their way of treating rural scenes as \"illusions\" which they believed to be free from any cultural change and untainted by ever-increasing city population and its degeneration.", "subitem_description_type": "Abstract"}]}, "item_4_identifier_registration": {"attribute_name": "ID登録", "attribute_value_mlt": [{"subitem_identifier_reg_text": "10.15083/00016545", "subitem_identifier_reg_type": "JaLC"}]}, "item_4_publisher_20": {"attribute_name": "出版者", "attribute_value_mlt": [{"subitem_publisher": "東京大学大学院総合文化研究科言語情報科学専攻"}]}, "item_4_source_id_10": {"attribute_name": "書誌レコードID", "attribute_value_mlt": [{"subitem_source_identifier": "AA11831019", "subitem_source_identifier_type": "NCID"}]}, "item_4_source_id_8": {"attribute_name": "ISSN", "attribute_value_mlt": [{"subitem_source_identifier": "13478931", "subitem_source_identifier_type": "ISSN"}]}, "item_4_subject_15": {"attribute_name": "日本十進分類法", "attribute_value_mlt": [{"subitem_subject": "801", "subitem_subject_scheme": "NDC"}]}, "item_4_text_21": {"attribute_name": "出版者別名", "attribute_value_mlt": [{"subitem_text_value": "Graduate School of Arts and Sciences, the University of Tokyo"}]}, "item_4_text_34": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"subitem_text_value": "Departmental Bulletin Paper"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "加勢, 俊雄"}], "nameIdentifiers": [{"nameIdentifier": "26396", "nameIdentifierScheme": "WEKO"}]}]}, "item_files": {"attribute_name": "ファイル情報", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_date", "date": [{"dateType": "Available", "dateValue": "2017-06-08"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "lis01011.pdf", "filesize": [{"value": "769.7 kB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_free", "mimetype": "application/pdf", "size": 769700.0, "url": {"label": "lis01011.pdf", "url": "https://repository.dl.itc.u-tokyo.ac.jp/record/16554/files/lis01011.pdf"}, "version_id": "c25c5d56-eb6b-4520-8526-442671c54c21"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "印象派", "subitem_subject_scheme": "Other"}, {"subitem_subject": "都市退化論", "subitem_subject_scheme": "Other"}, {"subitem_subject": "イングリッシュネス", "subitem_subject_scheme": "Other"}, {"subitem_subject": "農村画", "subitem_subject_scheme": "Other"}]}, "item_language": {"attribute_name": "言語", "attribute_value_mlt": [{"subitem_language": "jpn"}]}, "item_resource_type": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"resourcetype": "departmental bulletin paper", "resourceuri": "http://purl.org/coar/resource_type/c_6501"}]}, "item_title": "先祖がえりのヴィジョン : 世紀転換期イギリス美術の印象派的展開と社会", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "先祖がえりのヴィジョン : 世紀転換期イギリス美術の印象派的展開と社会"}]}, "item_type_id": "4", "owner": "1", "path": ["762", "761"], "permalink_uri": "https://doi.org/10.15083/00016545", "pubdate": {"attribute_name": "公開日", "attribute_value": "2012-12-03"}, "publish_date": "2012-12-03", "publish_status": "0", "recid": "16554", "relation": {}, "relation_version_is_last": true, "title": ["先祖がえりのヴィジョン : 世紀転換期イギリス美術の印象派的展開と社会"], "weko_shared_id": null}
先祖がえりのヴィジョン : 世紀転換期イギリス美術の印象派的展開と社会
https://doi.org/10.15083/00016545
https://doi.org/10.15083/00016545449f6f8d-01b7-4069-9096-3fa657569ef0
名前 / ファイル | ライセンス | アクション |
---|---|---|
lis01011.pdf (769.7 kB)
|
|
Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
---|---|---|---|---|---|---|
公開日 | 2012-12-03 | |||||
タイトル | ||||||
タイトル | 先祖がえりのヴィジョン : 世紀転換期イギリス美術の印象派的展開と社会 | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題 | 印象派 | |||||
主題Scheme | Other | |||||
キーワード | ||||||
主題 | 都市退化論 | |||||
主題Scheme | Other | |||||
キーワード | ||||||
主題 | イングリッシュネス | |||||
主題Scheme | Other | |||||
キーワード | ||||||
主題 | 農村画 | |||||
主題Scheme | Other | |||||
資源タイプ | ||||||
資源 | http://purl.org/coar/resource_type/c_6501 | |||||
タイプ | departmental bulletin paper | |||||
ID登録 | ||||||
ID登録 | 10.15083/00016545 | |||||
ID登録タイプ | JaLC | |||||
著者 |
加勢, 俊雄
× 加勢, 俊雄 |
|||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | At the end of the 19th century, the reaction against French Impressionism in the British art world was twofold. Firstly, the reaction was highly Francophobic, and was rooted deeply in the discourse of degeneration as French Impressionism provoked a sense of fear for neurotic exhaustion of the metropolitan life. On the other hand, there was New English Art Club, a group of independent artists who chose to train themselves in France denying the "rear-guard" British Royal Academy of Art; yet in spite of their apparent antipathy toward the Academy at the beginning, such artists among New English as George Clausen at the head of the list were absorbed into the system of the Academy around the turn of the 20th century. It was because the simplified images of agricultural life that they painted satisfied the viewers'idyllic imagination. And their paintings were partly contiguous to those of the Academy landscape painters who preceded them, in their way of treating rural scenes as "illusions" which they believed to be free from any cultural change and untainted by ever-increasing city population and its degeneration. | |||||
書誌情報 |
言語情報科学 巻 10, p. 177-192, 発行日 2012-03-01 |
|||||
ISSN | ||||||
収録物識別子タイプ | ISSN | |||||
収録物識別子 | 13478931 | |||||
書誌レコードID | ||||||
収録物識別子タイプ | NCID | |||||
収録物識別子 | AA11831019 | |||||
日本十進分類法 | ||||||
主題 | 801 | |||||
主題Scheme | NDC | |||||
出版者 | ||||||
出版者 | 東京大学大学院総合文化研究科言語情報科学専攻 | |||||
出版者別名 | ||||||
Graduate School of Arts and Sciences, the University of Tokyo |