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    <title>DSpace コレクション: 2015-02-06</title>
    <link>http://hdl.handle.net/11173/2039</link>
    <description>2015-02-06</description>
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        <rdf:li rdf:resource="http://hdl.handle.net/11173/2119" />
        <rdf:li rdf:resource="http://hdl.handle.net/11173/2120" />
        <rdf:li rdf:resource="http://hdl.handle.net/11173/2121" />
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    <dc:date>2026-04-19T09:38:00Z</dc:date>
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  <item rdf:about="http://hdl.handle.net/11173/2119">
    <title>筋負荷および主観評価からみた乳がん術後女性の補整具重量の検討</title>
    <link>http://hdl.handle.net/11173/2119</link>
    <description>タイトル: 筋負荷および主観評価からみた乳がん術後女性の補整具重量の検討
著者: 諸岡, 晴美; Morooka, Harumi; 佐野, 加永子; Sano, Kaeko; 大目木, 幸子; Oomeki, Sachiko; 渡邊, 敬子; Watanabe, Keiko; 谷田貝, 麻美子; Yatagai, Mamiko
抄録: The weight of breast pads worn by women for adjusting the breast shape after the removal of one breast owing to breast cancer surgery was evaluated from the viewpoint of muscle load and subjective feeling. Six females who had undergone breast cancer surgery participated as subjects. We conducted the following experiments: (i) electromyogram (EMG) measurements when using three types of pads made of silicone gel (weight: 189g), urethane foam (36g), and polyester padding (17g), respectively, and (ii) evaluating the subjective feeling when using a polyester pad with weights added in stages. The results showed that the lowest muscle load was observed for the most lightweight polyester pad among the three types of pads. Further, it was observed that the lighter the weight added to the polyester pad, the better is the comprehensive assessment, namely, the first main component obtained by principal component analysis. The balance evaluation did not depend on the breast volume of the healthy side.</description>
    <dc:date>2015-02-05T15:00:00Z</dc:date>
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  <item rdf:about="http://hdl.handle.net/11173/2120">
    <title>現代の墨流し染 : 現代の名工 薗部正典の技に注目して</title>
    <link>http://hdl.handle.net/11173/2120</link>
    <description>タイトル: 現代の墨流し染 : 現代の名工 薗部正典の技に注目して
著者: 青木, 美保子; Aoki, Mihoko
抄録: This paper focuses on modern Suminagashizome, a kind of marbling. I have been studying the modernization of Suminagashizome in Kyoto. I have found that Suminagashizome has been continually practiced since the Meiji era to the present, due to improved methods in passing down traditional techniques. I will explore these improved methods further in this paper. Modern Suminagashizome was created with the great skills of Mr. Masanori Sonobe, a contemporary master craftsman, and his flexible thinking and advanced technology. Mr. Masanori Sonobe created rich variations of modern Suminagashizome by using the traditional techniques of Suminagashizome and the similar techniques of Norinagashizome (a derivative of Suminagashizome) with high-performance dye.</description>
    <dc:date>2015-02-05T15:00:00Z</dc:date>
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  <item rdf:about="http://hdl.handle.net/11173/2121">
    <title>表紙ほか</title>
    <link>http://hdl.handle.net/11173/2121</link>
    <description>タイトル: 表紙ほか</description>
    <dc:date>2015-02-05T15:00:00Z</dc:date>
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  <item rdf:about="http://hdl.handle.net/11173/2118">
    <title>イブレアにおける近代工業都市の保存活動の実態</title>
    <link>http://hdl.handle.net/11173/2118</link>
    <description>タイトル: イブレアにおける近代工業都市の保存活動の実態
著者: 北尾, 靖雅; Kitao, Yasunori
抄録: The purpose of this paper is to understand conservation projects on the modern industrial buildings and city in Ivrea, Italy. In order to understand how the specialists are working for the conservation projects, we decided to carry out an interview research of a conservation architect in Italy. As the result of the research, we understood that the conservation methods consisted with two directions; one is making the heritage list and proceeding restoration projects by the design guideline. These two approaches are effective for the conservation projects for the modern industrial architecture in Ivrea.</description>
    <dc:date>2015-02-05T15:00:00Z</dc:date>
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