でも、今の私は本当に毎日忙しいです、それだけでなく、東大の寮に住んでいるから、本当に無理でしょう、自分の猫があれば。

残念ですね、カワイイ猫ちゃんたち。。。

日本人頑張れ！！！

いまホンコンへ皆さんの為に募金するんつもりです。

日本頑張れ！！！

日本人頑張れ！！！皆さん頑張れ！！！

Stories (myths) may then grow up around a ritual. Frequently the myths include representatives of hose supernatural forces that the rites celebrate or hope to influence. Performers may wear costumes and masks to represent the mythical characters or supernatural forces in the rituals or in accompanying celebrations. As a people becomes more sophisticated, its conceptions of supernatural forces and causal relationships nay change. As a result, it may abandon or modify some rites. But the myths that have grown up around the rites may continue as part of the group’s oral tradition and may even come to acted out under conditions divorced from these rites. When this occurs, the first step has been taken toward theater as an autonomous activity, and thereafter entertainment and aesthetic values may gradually replace the former mystical and socially efficacious concerns.

Although origin in ritual as long been the most popular, it is by no means the only theory about how the theater came into being. Storytelling has been proposed as one alternative. Under this theory, relating and listening to stories are seen as fundamental human pleasures. Thus, the recalling of an event (a hunt, battle, or other feat) is elaborated through the narrator’s pantomime and impersonation and eventually through each role being assumed by a different person.

A closely related theory sees theater as evolving out of dances that are primarily pantomimic, rhythmical or gymnastic, or from imitations if animal noises and sounds. Admiration for the performer’s skill, virtuosity, and grace are seen as motivation for elaborating the activities into fully realized theatrical performances.

In addition to exploring the possible antecedents of theater, scholars have also theorized about the motives that led people to develop theater. Why did the theater develop, and why was it valued after it ceased to fulfill the function of ritual? Most answers fall back on the theories about the human mind and basic human needs. One, set forth by Arustotle in the fourth century B.C., sees humans as naturally imitative——as taking pleasure in imitating persons, things, and actions and in seeing such imitations. Another, advanced in the twentieth century, suggests that humans have a gift for fantasy, through which they seek to reshape reality into more satisfying forms than those encountered in daily life. Thus, fantasy r fiction (of which drama is one form) permits people to objectify their anxieties and fears, confront them, and fulfill their hopes in fiction if not fact. The theater, then, is one tool whereby people define and understand their world or escape from unpleasant realities.

But neither the human imitative instinct nor a penchant for fantasy by itself leads to an autonomous theater. Therefore, additional explanations are needed. One necessary condition seems to be a somewhat detached view of human problems. For example, one sign of this condition is the appearance of the comic vision, since comedy requires sufficient detachment to view some deviations from social norms as ridiculous rather than as serious threats to the welfare of the entire group. Another condition that contributes to the development of autonomous theater is the emergence of the aesthetic sense. For example, some early societies ceased to consider certain rites essential to their well-being and abandoned them; nevertheless, they retained as parts of their oral tradition the myths that had grown up around the rites and admired them for their artistic qualities rather than for their religious usefulness.

大好きなＸＸさんと、同じ寝顔じゃない。。

すいません、そりゃ、、冗談だけです。

毎日寝不足だから、　ヤッパリ、醜いになった。

仕方がない、大人にならなっきゃっナ。　そりゃ、嫌いだ！

最近な、ＧＲEテスト終わりましたが、あんまりｂぉｇを更新しない。

実には、アメリカの大学院を選べてだけと、正直に、そりゃ事を決めない。UCLA? Lehigh? or NY Univ.?

いい友達ね、フランスへ行きました、　天体物理を専攻するためですから。　スゴイ人なんだな、アイツ。ヨーロッパでは、一番大学を選べました、アイツ。　未来の科学専門家になにたい、アイツ。

じゃ、アイツの写真一枚：

hahaha

Its subject(to use Maynard Mack's categories)is "life-as-spectacle," for readers, diverted by its various incidents, observe its hero Odysseus primarily from without; the tragic Iliad, however, presents "life-as-experience": readers are asked to identify with the mind of Achilles, whose motivations render him a not particularly likable hero.

In addition, the Iliad, more than the Odyssey, suggests the complexity of the gods' involvement in human actions, and to the extent that modern readers find this complexity a needless complication, the Iliad is less satisfying than the Odyssey, with its simpler scheme of divine justice.

Finally, since the Iliad presents a historically verifiable action, Troy's siege, the poem raises historical questions that are absent from the Odyssey's blithely imaginative world.

The classic formula for the piano rag disposes three to five themes insixteen-bar strains, often organized with repeats. The rag opens with a bright, memorable strain or theme,followed by a similar theme, leading to a trio of marked lyrical character,with the structure concluded by a lyrical strain that parallels the rhythmic developments of the earlier themes.The aim of the structure is to rise from one theme to another in a stair-step manner, ending on a note of triumph or exhilaration. Typically, each strain is divided into two 8-bar segments that are essentially alike, so the rhythmic-melodic unit of ragtime is only eight bars of 2/4 measure. Therefore, themes must be brief with clear, sharp melodic figures. Not concerned with development of musical themes, the ragtime composer instead sets a theme down intact, in finished form, and links it to various related themes. Tension in ragtime compositions arises from a polarity between two basic ingredients: a continuous bass—called by jazz musicians a boom-chick bass— in the pianist's left hand, and its melodic, syncopated counterpart in the right hand.

Ragtime remains distinct from jazz both as an instrumental style and as a genre. Ragtime style stresses a pattern of repeated rhythms, not the constant inventions and variations of jazz. As a genre, ragtime requires strict attention to structure, not inventiveness or virtuosity. It exists as a tradition, a set of conventions, a body of written scores, separate from he individual players associated with it. In this sense ragtime is more akin to folk music of the nineteenth century than to jazz.

君、よく分かりましたか？

来年、　アメリカへ行くなら、アイツ、、かわいそう。。

ところで、アイツ、モーニング娘の＜ここにいるぜ＞が大好き、　　原因は　さっぱり分からない。

ほら、見てて見てて、

へへへへへ

これ、友達から、正直に、恥かしいよりも、ビックリした。アイツ。。。。