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Τƻ椯ҤˤҤभ @ ƣ

2012ǯ02

ŷŲΤѤˤĤƢ
ŷŲδư̮ХѥѤϡ1101ʬ˼ᳫϤ356ʬ1457ʬ˽λޤǤȯɽޤ褦ˡѤذ°±¡ʤȡŷƲ°±¡ɳʤιƱǹԤޤ
ѼԤ3̾ǡϾ̭ŷƲŷƶȰδڶǤѤͽ̤˽Ĵ˿ʤߡλޤʤǧ줿ܤδư̮ʺޤԻޡˤΤ줾˺ⶻư̮ʭ礷ƥХѥ뤳ȤǤޤνзۤȤɤʤޤѸ줫ΤܳФĴǡۤͽ̤1555ʬ˼ѼICUˤܤˤʤޤ17᤮ ϡĹͤϤꤴѤξդź줿ͤȤȤˤ̲ˤʤꡤû֤ǤϤޤλᤴޤʿ24ǯ218ļ̳ɡhttp://www.kunaicho.go.jp/kunaicho/koho/kohyo/kohyo-h24-0212.html

ŷĤο¡ѤΤ餻ˤڤʤäήɤʤää롣Τ褦ϳ뤤дᤵƤ롣ŷĤܤοʽ̿ޡˤȤʤƤȤۤФ

ŷġ1933ǯ1223ޤˤ125ŷĤΤäưܤ򥤥᡼ʤ¿ܤϡαθ޽ʤú¤ܡܡˤȰλĤθú¤˭ܡʳܡ˵ڤ14̵ܡ43ݼҡ24ҡ42νɼҤι125ҤΤǰŪˡֿܡפ̤äƤ롣125125ҤȤŤͤȡʤȤʤ뤳ȤǤ롣ܤθΤŷĤοĹƱĹǤäȤΤäʤ顢Ʊɤ뤮ʤΤȤʤ˰㤤ʤޤϡΤä顣

ǯʿ252013ǯϼǯܡʤ󤰤ˤǯܤȤϡҤ¤¤ġݤ䡢¤򿷤˷ƤˡΤȡǯȤ줿ǯȤ̣ǡܤǤ20ǯ˰ٹԤ롣1μǯܤܤǹԤ줿Τϡŷģǯ690ˤΤȡ줫1300ǯˤ錄ä³졢48ǯ60ʿ5ǯˤ61󤬹Ԥ졢ǯ62ͽꤷƤ롣ܤαʱȷ³οʽ̿ޡˤ򸫤뤳ȤǤ롣

ơθΤ򿴸(ΤߤϤ)ȸ¤θ澲˷Ƥ̤ʥҥΥθǡʤߤФˡŷθʤΤߤϤˡŷθʤΤߤϤΤϤˤȤƤФ롣ϡܽפǤä˽Ť󤸤Ƥˤǡ¤줿ҴطԤˤäƹԤ졢줬ʤΤΤƤʤʤ顢бҤο줬ΩäƤ褦ˡܤο⻰줫ΩäƤǽϹ⤤

ο줬ŷĤοĹ˹碌ڤƤȤ롣
ʸǯ֡166173ˤ˼ʸװν̤ܿ쵭ܡפˤȡˤؤĹ򣸼ܤڤȬѤ˺äī˺ФŷĤοĹν˰ĤƤäơڤäȤƤ˶򤫤ơȭˤΤⲫκ򤽤ΩƤ椨ŷĤζΤΤΤǤ롣ޤοϰ򼨤Ƥ롣

ܲȽԢܱܿƻʸˤʸ̱¯ˤοĤȵʣܤοˡ٤ѡhttp://www2.kokugakuin.ac.jp/frontier/publication/bulletin1_10.pdf

ŷĤϹκɤܤưΤǤ⤢ꡢܹȹ̱νȿͤشطˤȸ뤳ȤǤ롣μѤˤäơֶǧ줿ܤδư̮ʺޤԻޡˤΤ줾˺ⶻư̮ʭ礷ƥХѥ뤳ȤǤפŲο¡줿Ȥϡܹȹ̱ϵ餹͡٤Ƥο¡ˤȿǤ¤ˤ٤ƤʤˤȤʤȴ롣

ܲȽඵϡŷϤ֡輴Ȥ븫Ȥʤ롣ܤοŷĤοĹˤ碌ƤΤŷҤŷϤּȤۤˤȤŤȻפפȵƤ롣Ż˵줿λع¤⤫Ǥ

˹ŷܤβθ¤ʤŷ濴Ȥŷ峦
˲ιʺιȸ륤ʥߤäԤ¾
˰ùϾΤȤǡŷȷӤĤ¤Ⱥιˤνб˥ʬ

ŷ塦ϲϾ夬ܤα輴ǴӤ졢줬ŷθ졦ŷθȤƤФֿפǤ롣ƤŷĤΤΡʤΡˤΤΤǤ뤳Ȥ̣Ƥ롣


õʤϤƤ


ܻҤνϩϡޤܤȤΤ褫Τʤ路Ȥ롣ܤϡԱؤ⤤7ʬθܥؤȤꤹ¿ˤϡ줫˻ܡʤΤߤˤػҤ⤤롣

˻ܤϻŸ෴ĮǷú¤ŷȺ溲ʤޤƤ餷ޤᤪߤߤΤߤޡˤ򤴺׿Ȥ롣̤ˤϡ֥פȤ֥٤פȤФ졢ܡܡˤ̵ܤǡŤܤܡʤȤΤߤˤȾΤƤ롣

ǡȡԻ׵Ĥʤä򡣤դ礤ꤤޤ

ؿС٤Ȥ꤬դ줿񤬤롣ϱ41676ǯ7ǯˤơͤΤ줿ʼҤŹʩΤζ⤯ʪȤƽФ줿ΤǤ롣ʸˤϡҤɲϻҤԻҤ׸塢ŷĤŷ绰ؼҡҡˡܤ¢ΤȵƤ롣˰˻ܤ˴ؤ뵭Ҥꡢ줬˸ǯνϸϤˤäʲȤʤäƤޤä

ˤϡ˻ܤμҤȤܡܤ򤽤줾εܤȤƤƤܤܤοϤƤܤȤνǤꡢܤīθҤ˻٤Ƥʾ塢𤹤褦ʰϸޤʤФʤʤȹͤ⳰ξܤٽŤʤʤˤꡢܤܽ񴩹ԤظĤŷ¸1681ǯܤϡؿС٤򵶽ǤؽȤڤƤʿҤ졢ܤǸ˻ƻȡӽΡĬƻӵꤷȤ˻ܿήȤʤä


дǻޤ礦





˻


ȡ줬ʿꭡ줬ʿꭢ

ΡήΤޤޤˡפΥ󥯽ˡʤߡפޤ̺ҤҤƤޤޤ䤬ؽʤߡˡ٤ȸƤФƤƤΤϡϤοϤξιۡīۡ٤νǤǯ˽񤷤ޤι̣äȤᤴƤޤǤǤ⡢٤ȤݤޤƤޤޤޡӻƤޤ

ʲΥ֥žܤƤޤ


۵ޡӻλٱࡪ
֥ΤֻǤʤǤߤޤ

路Ԥܤνޤ򤷤ޤ

ߤʤ󡢤äԤʪˤϤޤäƤޤäƤޤ

ɻٱ礷ƤΤӻζ̤ĤäΤǤȤϡ줾Τͧãʤɤ˸ƤӤơĤäԤߤޤ

ϳڤΤǷ³ȸޤ轵θ˽ޤ뤳Ȥˤʤޤ
ɡԤӻ夬ʤΤǤ

ǡ⤷Τɤ˥ӻ夬ĤäƤäƤʤǤ礦ĤӻǽʬǤäȤǤ⤤ǤۿͤԤळȤˤޤΤǡ

ٱ򤪴ꤤޤ



ݣ
ʡ縩ϷĮݣಾߣݣ
路Ԥ⡡¼ݻ


ǤΤǡɤꤤޤ

줫äƤȤΤ餻ä󡣤ۤȤˤ꤬Ȥޤ
ƤʤƤ⤤ΤǤ줿򤷤Ǥɡ
Ȥä󡢻˻Τǡۤɬֻޤ

ޤǤŹˤƤơ⤷ĤäϡʧʤƤ
ʤΤ路ϡߤ˥ܥƥƤ줿ΤˤʤȹͤƤޤ

ɤٱꤤޤ

路Ԥ


http://asahikanok.exblog.jp/17210838/ž
κ3ܤǤߤʤ󤪸ΤͻҤǡǤǤ


Ϥ򤪴ꤤޤ


õʤϤƤ


ϥӥ롦Хǥ1969ǯޤˤϡ2004ǯαDz̴Mar adentro٤˼͸Υ󡦥ڥɥ򹥱餷ڥͥǤ2007ǯΡإΡȥ꡼No Country for Old MenˤǤ̵ʰ餸Ȥʤޤǯ10Ϲ罰ABC˥塼ƻȡNightline٤˰ȤǤ֥åΤ줿쥹ڥΡϥ̱פˤĤƼޤȤǤϹϢξѰǥԡԤʤɤơݼҲ񤫤˺Ƥ뤳ˤĤưռ褦ϤѤҲ𤵤ޤǶᡢϱDz'Sons of the Clouds: The Last Colony'إФγ̿١إ̤μ٤ΥХ󥴥ꥢAlvaro Longoria˴ĺʤȤƥץǥ塼٥Dzפ˻äޤ
http://www.berlinale.de/en/das_festival/im_fokus/videostreaming/06_streaming_2012.html#item=2621

ܺʤϡڥͤबˤƻŻ̤ơDzͤȤơϥ˹׸Ǥ뤫䤤³̡ˤǤ

å¦ˡϥפϰȤ¸ߤƤޤϰ֥ڥΥϥפȸ졢ڥο̱ϤǤ塢եꥫΩ꼡¦Υå1956ǯ˥ե󥹤Ωޤ1975ǯˤϥڥͭޤʤ顢ϥפϼ縢ȤȤƤΩܻؤƳư³Ƥޤ

ڥű塢åϡ¾ݸΤƱִͤԤפȼĥϥ͸¿35ͤΥå̱ʶˤϤäˤˤФιԿʡפԤޤή򶲤줿ڥȥå⡼꥿˥δ֤ϥʬˤĤ̩󤬷Ф졢76ǯ2˥ڥűषϥϥåȥ⡼꥿˥̤ʬ䤷ΤǤơ73ǯ5饹ڥϸƮ³Ƥݥꥵꥪ񹳤֣ˤʬϿʿ̱ϻۡפȡڥűľ˥ϥ顦̱綦¹Ωޤ른ꥢλٱʤåȥ⡼꥿˥Ʈ³른˥ϥ顦̱綦¹˴̿ܤȤȤˡ른ꥢ̱פΦκΡֲפзˤƥư³ΤǤ

ߡϥ顦̱綦¹ϡֺɡפ˹ڤʬǤ졢ɤ¦ϥåˤϤǥåƻ롢¦ϥݥꥵꥪˤֲפ¦ƻ뤷ƤޤֺɡפȤϡϥΰ̤˴ӤŪ2,000km˵ڤֶΤȤǤϥͭĥƱϤΩĥݥꥵꥪΩå饨뷳ζϤˤäơݥꥵꥪΥ鹶⤫߼ԻԤɱҤ̾ܤǷߤΤǤϢư⤢ꡢξԤϸ餵Ƥޤ̤̾ꡢåϥ麽κ⤵᡼ȥѤ߾夲ƺäΤǡμդŴ֤ɸ椵Ƥޤ

Υϥ顦̱綦¹ϡեꥫƥ󥢥ꥫ濴58񤬾ǧƤޤϢϾǧƤޤ1984ǯϥեꥫ쵡OAUˤ˹ȤȤƲƤޤͳ˥åOAUæषޤɤ¦åƻ뤷¸ۡˡˤƤ뤳Ȥ˴ؤơݻˡȽϡ֥åȤŪŪưΤˤϥȥåȤΤŪ縢˴ؤˡŪ«¸ߡ뤤ϤФŪǧΤ򼨤ΤǤϤʤåͭι¤θƤϥåϥˤ뤤ʤ¸Ū¾Ūư⼨ΤǤϤʤפȻŦƤޤåˤͭμĥ¿ι񤫤ǧƤޤ󡣤郎ܤϡåƱΤᤫޤϹ罰ƱĴΤΤȤϥ顦̱綦¹ȤȤƾǧƤޤ

͡ϢΥޥåסhttp://www.un.org/Depts/Cartographic/map/dpko/minurso.pdf

Ȥǡ郎ܤˡڹˡʼ¸ۡˤƤޤǧƤϤޤ󡣵쥽ӥȤϥե󥷥¾˽̾Ƥ餺̤ȤơܤϥȤ̤ʿ¾뤷ƤʤΤǤϢܤȥϡƱƤʿ¾λ硦ðܤؤΰϤפƳǧƤΤǤ顢Ϲ塦ªξμ갷ˡȤʤޤΤȤܤʿ¾ȤƤ褦ˤϸޤ󡣼ˡڹ˴ؤƤǤ郎ϺǯݻˡȽʤޤڹϹݻˡȽؤƱդʤäΤǿĤϳϤޤǤڤε°ˤĤƹդ뤳Ȥʾ硢ϢؤǤݻˡȽѤ뤳ȤǤޤ٤βǤϡ뤿ˤʶξƱդɬפʤΤǤǤ顢˴ؤƤϡǯݻˡȽʤ³ڹƱդƤ⤦褦Ư³ɬפޤ

̺Ҥ⡢ڤ⡢⡢ɤ줤ƻơΩؤΩľϤ᤿ΤǤơ˥եȤ뤿ˡʬ˽뤳Ȥͤưޤ礦ٸ¤ΰŪʤΤǤϤʤϤƻ򳫤³ŪưˤΤǤ

礭ʾдǻޤ礦




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JavierBardem


Berlin 2012: Javier Bardem Talks About Alvaro Longoria's 'Sons of the Clouds: The Last Colony' (Q&A) - 6:44 AM PST 2/15/2012 by Pamela Rolfe

Few people outside of Spain have even heard of the post-Colonial drama of the Sarhawi people who live to this day in the Western Sahara. But that's something Javier Bardem wants to change. The Spanish actor has thrown his weight behind the documentary as producer and star to focus some of his starlight on one of the darker corners of the world. The Hollywood Reporter's Spain Bureau Chief Pamela Rolfe talked to Bardem about the documentary, the Sahara and optimism.
THR: This is clearly a personal project. I know that your contact with the Sahrawi people came while at a film festival, but what was it that really moved you about that experience?

THR: Outside Spain, the Western Sahara is largely an unknown problem. It's not even on the radar. How would you explain the situation and Spain's historic role to a complete outsider?Bardem: There are many reasons why I was moved by the experiences I had in the refugee camps. I suppose if I had to identify one to summarize it would be seeing the legacy as Spaniards that we left to the Sarhawis. That really gives you a different kind of responsibility. Of course, it wouldn't be the same if the Sarhawis weren't how they are-- so generous. I didn't find any hate or resentment toward us, but the opposite. The Spanish population helps the Sarhawis in a big way -- in a private way. So we want to help and we made the documentary because that's the way we can. You cannot change the world. But we can bring that story to some other people who may not be aware of it. In the end, those stories that are not told are stories that don't exist in people's minds.

Bardem:
That's actually why we tried to do the documentary, because it's not very easy to make sense of it. This film is about the Sarhawis. But in the end, it's about a lot of stories in the world that happen to be the same. Because they are not on the radar, as you say, they're not important. If they're not "important," then people don't move to try to change them. When I say people, I do mean society -- but I also mean governments that have the power to change the landscape. Imagine the situation between Israel and Palestine. It's such a big mess. You can be on one side or the other. But what's clear is that there's an urgent need for a solution there and that's been dragging on for so long. So you can imagine how much more difficult for a people like the Sarhawis that are so much less -- less population, less support. It's important to talk about a situation that people are not aware of and yet those people are having a really hard time to survive. The world is full of these stories. We didn't choose it. It chose us.

THR: There's a moment when you are interviewing Aminatou Haidar when she talks about the growing frustration with non-violence by saying she can no longer find the words to guide younger generations. It's a key moment. What do you see as the path for the Sarhawi people?

Bardem:
She's an amazing lady who has lived through so many incredible situations. She presents the Sarhawis as they are -- a people who have been trying peacefully to demand legal rights, common sense rights, with the knowledge and consensus of the United Nations and yet they still feel they don't have a right. It's like Aminatou says -- they are a people that are really peaceful and don't want to move forward in a violent way, but "what can I tell the youth when after all these years and so many betrayals, we still don't matter." What can you say? It's very powerful to hear that from a person recognized as a peace leader in the world.

THR: Something depicted nicely in the film is not just a possible changing in strategy, but a changing of the guard from one generation to the next.

Bardem:
People have been born and raised in refugee camps. Those people don't know what the older generation knew, their land, their future, their possibilities. There is a whole generation of people who have grown up in refugee camps asking themselves, "Why? What have we done wrong?" And Aminotou and others are still telling them that peace is what will bring us farther as a movement. But these generations are saying "no," because they see how the world changes and they see that if you do not make some noise, you are not in the news. And we -- society, the media -- either voluntarily or not we make them make decisions like that. It's a pity, because they are an example of people moving forward in the hardest situations with their very peaceful, positive and creative spirit.

THR: Not to minimize the effect of the film, but I'm curious if there's anything else aside from the hefty weight of your prestige and celebrity and the cost of the film that you have invested in this cause? Have you created some foundation or some economic support?

Bardem:
Alvaro and I and others I know try -- and sometimes we succeed -- in a private, anonymous way in order for them to have better conditions. But that goes along with all the Spanish society that I mentioned before. There is a lot of awareness in the Spanish society. They bring kids here in the summertime because summers there are unbearable. They bring them here to Spain to see doctors. They send money and they send food. But that's not the goal. The goal is to try to change the scenario and for them to have what they deserve -- their land, their right to make a living out of their land. I could name thousands of people who are helping in a private way. That's not what it should be. We wanted to put it all together so people understand and can know what to ask of their governments in the political forums. But if you're asking about foundations, there are many pro-Sarhawi foundations in Spain and, of course, we can work through that, but if this film makes any money at all, it'll go straight to the refugee camp. But it's not just the film, there are many private initiatives.

THR: Many people outside Spain might not know the Bardem family's link with political activism. But it's something you come by honestly, no?

Bardem:
It's not something you choose. It's not something you carry like a flag. It's a part of your education. I've seen people in my family doing whatever they could, however they could, in order to help to create a better way in a very humble way. What you see when you are little, stays with you. It stays a sense of humor, a way you eat or the way you enjoy a book. It's a part of your education.

THR: Would you consider yourself an optimist?

Bardem:
Wow. In general? Ah I believe in people. I'm going to be 43 years old, and my experience in life so far is that I've met way more good people -- people that are trying to help, people that are doing the best they can do to create a better world -- than people that I've met that are the opposite, people that are destroying or creating a horrible world. So I'm optimistic in that way. The bad news is that only the bad people reach the news because they are noisier.

THR: And with respect to this particular situation?

Bardem:
I do. Alvaro and I were at the United Nations and we had the chance to be there for three or four days and speak to a lot of people. And there's an awareness for example of the violation of human rights is so strong that I'm optimistic in that sense that it will be supervised there's a sense that it has to be transformed. Transformed so they can have the freedom of speech, freedom to belong to different ideologies without being in prison or tortured. In that sense, the Arab Spring has taught us that it's possible. Even in the darkest regions, people have discovered their right of freedom. And yes, I'm optimistic in that sense.

THR: The number of languages used in the film highlights what an international problem it is.

Bardem:
When we got there, we thought it was a local problem with the Spanish government. We made a journey, and as we make the journey, we discovered how many governments are actually involved in this problem. And of course, how many languages. I was amazed about the knowledge of the situation in so many different forums. Of course, on a street level, it's not a very well known crisis. But in political circles, it is.

THR: So what do you take away from the experience of making this documentary?

Bardem:
I'm lucky in that I know a lot of good and capable people that can make it happen. We all need people. Human beings are not an island. I know a lot of people in different crafts. In this one, Alvaro has really worked hard to make it happen over the past four years. It's been a long road, and we're happy we have something to show. We wanted to make something real that people can have an opinion after watching it. In this case, it wasn't easy because you have to fight hard for people to speak. We weren't looking to jeopardize anyone. We just want people to learn and to take them through the journey of why this situation keeps being the same for so long.

http://www.hollywoodreporter.com/news/berlin-2012-javier-bardem-talks-291381ž

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ܤιŪϰ̤ϿӤ㤫äˤ⤫餺٤󶯤˱Τ֤˶äΤϡʤǤäܤɬ̱θʸƤƤΤˡʬΤ̿Ǥθʪ³櫓ˤϤʤʤäƤˤͤפݸ٤˥եȤ뤪ʤʤäΤǤ롣8736ǯīܤϹ罰αؤƤˤ򥭥塼ФΥϥХʤɸͰ̱뻡Ʊˡڥ롼Ȥ̾Ӱ̱Զ«ǡ塼Фؤΰ̱λ𤵤ȡƻƥڥȤ̤ΰ̱ޥˤʣΡƴۡפȤĹꡢݥݤ̵ͤޤ졢ϤϫƯϤȤ͢Ф줿ưⶦʴĶǤäΤǡŪϤ夹̿򼺤Τ¿ä18758ǯݥȥϺǸ˻ĤäޥΡƴۡפĺ뤳Ȥˤơīγ򹩺Ϸ¤θ弡˳ǤͤԶ褿ΤǤä

衼åѤ̥ꥫζ˱ɤϡ٤ξΩƤ줿ΤǤäȳ̿ꡢʬϤȯޤǤϡäưϸȤʤäϤ󶡤ΤǤä٤16Ƭ300ǯϤ³졢19Ѥƶϡʥ꡼٤Ȥʤäƹ100ǯθ˾ǤΥ꡼ǰפ˽ǤΤϡνܤǤäܤ˹ԤʤäƤߤεΤʳƮ̤ǤäθԤ쥢ˤͤβڶˡ罰ˤʤɤˤϡ400ǯ֤ο̡ˤȤƤ뷹롣ɼԤΤߤʤդ򴭵ʤǤ롣


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κȽοĤŦ۸ͤΥꥹͤϡܤǤϤη֤äȹ«Ūʼ¤ˤʷ󡢤ʤͷʾطˤԤƤΤ顢ܤ̵ǤȸäƤ⡢ͭǤפȼĥơͷǯʸμ̤Ȳ±弣Ф¡ܹǤ夫־ʤ礦ˡפȤͿ㤬ȤƸȹԤƤ񤹤ʤʤȤȽơܤϸ٤ѻߤʤʤꡢܤƱǯ1872(5)ǯ10˷ݾãɴ彽޹ˤȯͿζػߤǧȤȤˡݾμڶϺȽǤȤꤢʤȤ᤿ƻˡʤϾʡֵڤۤɤפΤˤǡݾϡֿͿȤθ򼺤ԤˤƵϤ˰ۤ餺פȤơǤ뤳ȤǧֵϤʪֺѤʤפȤƷݾμڶ̵ǡֺѤƤϤʤʤ̿ᤷ

ݾϡŪǯѻߤʤɸ٤絬Ϥ¤ŪäƤ֤ߤͤȯ줿Τǡ줿žݤʤɤΥեϳǤ줿äơμҲкŪѤʤääơܤˤϸ٤ΤΤѻߤտޤϤʤä餷ͷǤߺߤ̾ΤѤ¸³ߺ߶ȼԤϼͳջ֤ˤ뾫ʤɤ˺ߤߤΤȤ˥ե᡼󤵤줿˲᤮ʤä顢ˤͷμͳܵٶȤμͳФμͳ̿ܤμͳϤʤäοͿȤ«ڶȤƼ¼Ū˷³Ƥ

ʤ顢ˡˡǤ̼οɻȤơؤζڹȤб뵻ǽξߤ꤬äˤϡʹߤ˽ϫƯϤϤȤ깩ȤδפΤä

Ȥǡ奮ꥷ˲ȥإȥɥϡ᥽ݥߥǿդԤƤȽƸڤͤǤ롣ꥹȥ桼եƥ˱äˤϡХӥΥ奿ο¤Ϥ¿Ϥ¡βȤꡢȤƿաʿ/աˤԤäءʿ¾/ԡˤ19˥åꥢפȯ줿ʪΰġإ륬å٤Ǥϡ륬åͧ󥭥ɥνä뤿ˡؤɸĤԤäȤ뤫顢չ԰٤ϿʵǤäʬ롣ޤ¾ؤαƶ᥽ݥߥΥ奿롢奮ꥷΥեǥơ̲äΥե쥤ʤɤνʤʻѤ줿ä˸뤳ȤǤ롣ʰʾ

ջ˶̣ΤϤ
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