論文

The city of Trier has been home to two copies of the Gutenberg Bible. One of them, commonly known as “Trier II”, has been divided and fragmented at various stages of its transmission history and scattered all over the world, with the largest portions now kept in Mons and Bloomington. Its fate has been well documented, its dispersed leaves meticulously hunted down, and its known leaves catalogued, most recently and thoroughly by Eric White. The other copy, “Trier I”, is a complete first volume of the Bible, with no trace of a second volume. Although more substantial than Trier II, Trier I has kept a relatively low profile in the study of the Gutenberg or 42-line Bible (hereafter B42). However, a careful examination of Trier I’s hand-added elements, that is, the hand-painted initials and the handwritten tituli, demonstrates that the copy is in fact a key to connecting the two earliest printing shops in Mainz, the one that issued B42, ca. 1454-6, and the shop of Johann Fust and Peter Schöffer, 1457 and after. As we shall see, Trier I can be associated with two publications by Fust and Schöffer’s shop: Durandus’s #IRationale divinorum officiorum#RI of 1459 and the 48-line Bible of 1462. As such, Trier I stands as a copy of unusual importance in the study of B42, offering a glimpse into events in the earliest printing shops in Mainz.

This paper explores how the role of illustrations in medieval European herbals changed over time and in various contexts. The negative view of plant illustrations held by Pliny the Elder in antiquity was persisted well into the Middle Ages, resulting in the general lack of illustrations in medieval herbals. The paper examines such exceptions as the beautifully illustrated Vienna Dioscurides manuscript from the sixth-century Byzantium; an eleventh-century Old English translation of Pseudo-Apuleius’s Herbarius, which is accompanied by schematic illustrations; the Tractatus de Herbis of ca. 1300 from the circle of the Salernitan medical school with life-like depictions of plants; and the ‘Carrara Herbal’, a sort of artistic plant album created ca. 1390 in the Paduan court. The paper demonstrates how, in differing contexts, herbal illustrations could convey political messages, enhance the usability of the book, reflect scientific or academic interests of the compiler or the commissioner, or be presented as a token of wealth, power, and intellect. The advent of movable-type printing in the mid-fifteenth century enabled illustrated herbals to be widely distributed, thereby contributing to the democratization of knowledge. We also witness a change in attitude towards plant illustrations from those of Pliny; as demonstrated in the Gart der Gesundheit, published in Mainz in 1485, realistic depictions of plants were finally considered a virtue in which the publisher took pride.

慶應義塾大学文学部，経済学部，法学部，商学部の1，2年生および理工学部の1年生を対象に，科学用語に関するアンケ―ト調査を実施した。実施期間は2022年5月，回収数は文系学部が238（回収率52.1%），理工学部が249（回収率49.1%）である。科学用語36の知識と興味度のほか，物理ならびに科学へのコンプレックスなどを調査し，主に10年前の調査結果と比較した。科学知識を獲得する媒体は，新聞からインターネットへ大転換した。科学コンプレックスを感じる時期は，10年前とほぼ変化がなかった。文系では数学受験の経・商の学生は物理にコンプレックスが少なく，理工では化学・生命科学系の学門で物理コンプレックスが高かった。文系理工，男女問わず物理コンプレックスを感じない割合が増加した。特に理工女性は1.4倍，文系女性は2.0倍と女性の割合が大きく増加している。RNAや量子計算機の知識度が増加したが，特に量子計算機は興味度も増加した。意外にもほとんどの科学用語で興味度が減少した。