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The Steel Square Its Application to Everyday Use Kessinger Pub Co? Fred T. Hodgson? KessingerPubCo? FredT.Hodgson? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference The Mastery Of The Air Kessinger Pub Co? William J. Claxton? KessingerPubCo? WilliamJ.Claxton? ジャンル別? Subjects-Science-General Subjects-Science-Technology-General&Reference Chemical Engineering (Fe/Eit Exam Preparation) Real Estate Education Co? Dilip K. Das? Rajaram K. Prabhudesai? RealEstateEducationCo? DilipK.Das? RajaramK.Prabhudesai? ジャンル別? Subjects-Arts&Photography-Architecture-General? Subjects-Arts&Photography-Architecture-Reference? Subjects-Arts&Photography-Architecture-Study&Teaching? Subjects-Engineering-Chemical-General? Subjects-Professional&Technical-Engineering-Chemical-General? Subjects-Professional&Technical-Architecture-General? Subjects-Professional&Technical-Architecture-Reference? Subjects-Professional&Technical-Architecture-Study&Teaching? 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Subjects-Science-General Subjects-Science-Technology-General&Reference Subjects-Science-Medicine-SpecialTopics-Biotechnology? The Chemical History of a Candle Indypublish.Com? Michael Faraday? Indypublish.Com? MichaelFaraday? ジャンル別? Subjects-Science-Chemistry-General&Reference? Subjects-Science-General Subjects-Science-Technology-General&Reference Technology and Watch Design Xlibris Corp? Tim Flower? XlibrisCorp? TimFlower? ジャンル別? Subjects-Arts&Photography-GraphicDesign-Commercial-General? Subjects-Arts&Photography-GraphicDesign-Design-General? Subjects-Science-General Subjects-Science-Technology-General&Reference Technology and Watch Design Xlibris Corp? Tim Flower? XlibrisCorp? TimFlower? ジャンル別? Subjects-Arts&Photography-GraphicDesign-Commercial-General? Subjects-Arts&Photography-GraphicDesign-Design-General? Subjects-Science-General Subjects-Science-Technology-General&Reference The Gasoline Age-why? Authorhouse? Herbert J. Redman? Authorhouse? HerbertJ.Redman? ジャンル別? 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Subjects-Science-Technology-General&Reference Inside Modern Technology How It Works Crown Pub? CrownPub? ジャンル別? Substores-UnknownASINs-12? Subjects-Science-Technology-General&Reference Mechanix Illustrated How to Patent and Market Your Own Invention Outlet? Marvin Grosswirth? Outlet? MarvinGrosswirth? ジャンル別? Substores-UnknownASINs-12? Subjects-Science-Technology-General&Reference A History of Technology and Invention Progress Through the Ages Crown Pub? Maurice Daumas? CrownPub? MauriceDaumas? ジャンル別? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference A History of Technology and Invention; Progress Through the Ages. Crown Pub? Maurice Daumas? CrownPub? MauriceDaumas? ジャンル別? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Quintessence The Quality of Having It Crown Pub? Betty Cornfeld? Owen Edwards? CrownPub? BettyCornfeld? OwenEdwards? ジャンル別? 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Science Deified and Science Defied The Historical Significance of Science in Western Culture Univ of California Pr? Richard Olson? UnivofCaliforniaPr? RichardOlson? ジャンル別? Substores-UnknownASINs-13? Subjects-Business&Investing-Economics-EconomicPolicy&Development? Subjects-History-Europe-General? Subjects-Nonfiction-SocialSciences-General? Subjects-Nonfiction-Economics-EconomicPolicy&Development? Subjects-Professional&Technical-Accounting&Finance-Economics-EconomicPolicy&Development? Subjects-Science-General Subjects-Science-History&Philosophy-HistoryofScience? Subjects-Science-History&Philosophy-HistoryofTechnology? Subjects-Science-Technology-General&Reference Subjects-Science-Technology-General&Reference 洋書
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概要 日本語：文字を書く練習 種類：文書 オフライン 販売価格：$ 売却額：$ 非売品・売却不可 オンライン 解除ランク 販売価格：$ 販売価格：ゴールド（延べ棒大） 売却額： 入手不可 解説 このメモはネイティブアメリカンが米軍に英語を習わされていた事実を記すものとともにネイティブアメリカンによる暗号ともとらえることができる。 このメモを入手するとマップに表示されていた羽のアイコンは消える。 なぜこのアイコンが表示され、消える理由はわかっていない。 ヒントになるかもしれないものとして 鷲の羽根法wiki がある。 メモの意味 このメモは日本語に訳してしまっては意味をなさないので英語のまま解読する必要がある。単語が羅列されているだけなのだが、各単語の一文字目だけを抜き出して読んでみると、次のようになる。 【上段】 WaziyacameswithwinterbreathhistreesstandguardwHispering 【下段】 allnightthatwesleepinourgraveFatherfoughtanddiedsoquicklyMotherdiesslow 上段下段で合わせる WaziyacameswithwinterbreathhistreesstandguardwHisperingallnightthatwesleepinourgraveFatherfoughtanddiedsoquicklyMotherdiesslow 大文字で改行する Waziyacameswithwinterbreath Histreesstandguardwhisperingallnightthatwesleepinourgrave Fatherfoughtanddiedsoquickly Motherdiesslow 単語で区切る Waziya cames with winter breath His trees stand guard whispering all night that we sleep in our grave Father fought and died so quickly Mother dies slow 訳すと Waziyaは冬の息と来た 彼の木は見張りをしていて、一晩中、私たちは墓の中で眠っていると囁いている 父は闘ってすぐに死んだ 母はゆっくりと死ぬ 考察 フォートリッグスの南に墓があり、すべて十字架が切ってあることからキリスト教であること。→これはネイティブアメリカンはキリスト教に改教させようとしていた証拠。 ネイティブアメリカンがキリスト教を信仰できた理由 。 フォートリッグスの北東には伐採所がある。→おそらくネイティブアメリカンを使用してフォートリッグスの壁を建設する材料をここで採っていたため。 ミッション解き放たれた怒り内の鷲の飛翔によると米軍による襲撃でネイティブアメリカンたちは大量に更生施設され、残りは病気や餓え死の危機。薬などは隠してある。と言って、ダッチギャングに助けを求める。ここで言われる更生施設とはフォートリッグスのこと？ 上記のことからWaziyaとは「死」を示していて冬に死が訪れることをわかっていた。そのことを同族に知らせたかったのではないか。 入手場所 フォートリッグスの廃屋の中。 ギャラリー 日本語訳 コメント 何かわかることがあればコメントが欲しい。みんなの力が必要だ。 名前
https://w.atwiki.jp/niko_tan/pages/25.html
遅ればせながら、Beers Criteria 日本版について今井先生と渡辺先生のお話を聴いてきました。 演題・講師： 「高齢者に避けて欲しい薬のリスト－Beers Criteria 日本版 を 薬剤師が現場でどう活用するか」（仮題） 国立保健医療科学院 疫学部 部長 今井博久先生 「高齢者施設での使用経験」（仮題） 医療法人社団吉美会吉備高原ルミエール病院 薬剤科 主任 渡邉智康先生 今井先生のお話は、こちらにも、Beers Criteria 日本版のリストの一部もあります。 アグレッシブで引き込まれるお話。 薬剤師の受身の疑義紹介に厳しいお言葉も！ 今井先生が示されておられるとおり、このリストは専門家による“コンセンサス”であり、“エビデンス”ではなく、これから現場の専門家によってさらなる検討が必要であったそうです。 にもかかわらず、メディアによって一般の目にさらされることになり、かえって患者に不安をあおるという結果になったそうです。 （日病薬誌の2009年1月号にも、慶応大学薬学部社会薬学の福島紀子教授による総説が掲載） 渡辺先生のお話は、こちらにも軽く。 高齢者の薬の問題は、医療者なら今までも、皆何か感じることがあったのではと思います。 私は、昨年亡くなった祖母が数年来飲んでいた薬にずっと不満があった・・・でも、老々介護の上、孫の言葉は親世代の都合とは合わず・・・、未だに心にもやもやとしたものが残っています。 とはいえ、リストに上げられた医薬品をそのまま信じてよいのか？？？ 少し調べてみました。 ○ 高齢者に不適切な薬のリスト”は不適切である！―“ビアーズ基準の日本版”をめぐって http //www.ibaraisikai.or.jp/information/iitaihoudai/houdai24.html フジ虎ノ門健康増進センター 斉尾 武郎 ○ 今井博久，Mark H. Beers，Donna M. Ficks，庭田聖子，大滝康一．高齢患者における不適切な薬剤処方の基準─ Beers Criteria の日本版の開発．日本医師会雑誌．2008；137（1）：84-91. (http //d-inf.org/t/nichii_137(1)_84-91.pdf ) ○ Fick DM, Cooper JW, Wade WE, Waller JL, Maclean JR, Beers MH. Updating the Beers criteria for potentially inappropriate medication use in older adults：results of a US consensus panel of experts. Arch Intern Med. 2003；163（22）：2716-24. 斉尾武郎．Beers Criteria日本版への疑義：未熟なコンセンサスガイドライン． 臨床評価 2008; 36(2)467-72. ( http //homepage3.nifty.com/cont/36_2/p467-472.pdf ) ○ 戸田克広．「高齢患者における不適切な薬剤処方の基準─ Beers Criteria の日本版の開発」への質問：長期作用型ベンゾジアゼピン系薬より短期作用型ベンゾジアゼピン系薬のほうが安全なのでしょうか？ 日本医師会雑誌．2008；137（7）：1496-7. ( http //pediatrics.news.coocan.jp/my_paper/nichii2008_102.pdf ) 私も、リストを講演の中でも提示された時に、長期作用型ベンゾジアゼピン系薬より短期作用型ベンゾジアゼピン系薬のほうが安全なのだろうか？と疑問を感じました。 それは戸田Dr の指摘の通り、依存性の問題はよいのかという点と、日本の住宅の段差の点。 バリアフリーが転倒骨折を防ぐというエビデンスがあるのか？ とある介護施設から、逆に老化を早めるという情報提供もあったように記憶していますｌ。 フロアからの質問を伺っていると、Beers Criteria 日本版を渡邉先生のように、疑義紹介に使用している施設がすでにあるようでした。 safety に関する情報は、疑わしいものは、とりあえずなるだけ避ける努力をするのが医療の原則。 でも、薬剤師視点からも、Beers Criteria 日本版を評価をして、妥当ということであれば、現場に導入つまり疑義紹介してもよいかと思います。 まぁ年度内に、詳しい書籍が医学書院から出るようですので、クリティカルに読んで、私なりの薬剤師視点を加えて、自施設に導入すべきかを評価したいと思います。 とはいえ、65歳以上の患者さんは、うちの診療所には、ほとんどいらっしゃらないんですけどね。 退職される方に、不要な薬をやめるように促して、将来に備えていただこうかしら～と思案しております。 不要な薬・・・なんだかこの視点から考えると、高齢者云々は関係なかったりしてね～＾＾; その上、ちゃんと診療して処方されて、ちゃんと調剤（疑義紹介済み）された薬を飲めば、予測できない副作用は別として、safety には最大限配慮されているはず？？？ これができていない事実があるから、Beers CriteriaもBeers Criteria 日本版も発表されたのでしょう。 この事実は、薬剤師として真摯に受け止めたいと思います。 ヾ(* - *) 名前 コメント
https://w.atwiki.jp/touhoukashi/pages/4150.html
【登録タグ E Metallical Animism Metallical Remasters SOUND HOLIC ユリカ 少女さとり ～ 3rd eye 曲】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; const rPagename = /(?=^|.*
https://w.atwiki.jp/touhoukashi/pages/1450.html
【登録タグ A FELT Silver Drive オリジナル 曲 美歌】 【注意】 現在、このページはJavaScriptの利用が一時制限されています。この表示状態ではトラック情報が正しく表示されません。 この問題は、以下のいずれかが原因となっています。 ページがAMP表示となっている ウィキ内検索からページを表示している これを解決するには、こちらをクリックし、ページを通常表示にしてください。 /** General styling **/ @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight 350; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/10/NotoSansCJKjp-DemiLight.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/9/NotoSansCJKjp-DemiLight.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/8/NotoSansCJKjp-DemiLight.ttf) format( truetype ); } @font-face { font-family Noto Sans JP ; font-display swap; font-style normal; font-weight bold; src url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/13/NotoSansCJKjp-Medium.woff2) format( woff2 ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/12/NotoSansCJKjp-Medium.woff) format( woff ), url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2972/11/NotoSansCJKjp-Medium.ttf) format( truetype ); } rt { font-family Arial, Verdana, Helvetica, sans-serif; } /** Main table styling **/ #trackinfo, #lyrics { font-family Noto Sans JP , sans-serif; font-weight 350; } .track_number { font-family Rockwell; font-weight bold; } .track_number after { content . ; } #track_args, .amp_text { display none; } #trackinfo { position relative; float right; margin 0 0 1em 1em; padding 0.3em; width 320px; border-collapse separate; border-radius 5px; border-spacing 0; background-color #F9F9F9; font-size 90%; line-height 1.4em; } #trackinfo th { white-space nowrap; } #trackinfo th, #trackinfo td { border none !important; } #trackinfo thead th { background-color #D8D8D8; box-shadow 0 -3px #F9F9F9 inset; padding 4px 2.5em 7px; white-space normal; font-size 120%; text-align center; } .trackrow { background-color #F0F0F0; box-shadow 0 2px #F9F9F9 inset, 0 -2px #F9F9F9 inset; } #trackinfo td ul { margin 0; padding 0; list-style none; } #trackinfo li { line-height 16px; } #trackinfo li nth-of-type(n+2) { margin-top 6px; } #trackinfo dl { margin 0; } #trackinfo dt { font-size small; font-weight bold; } #trackinfo dd { margin-left 1.2em; } #trackinfo dd + dt { margin-top .5em; } #trackinfo_help { position absolute; top 3px; right 8px; font-size 80%; } /** Media styling **/ #trackinfo .media th { background-color #D8D8D8; padding 4px 0; font-size 95%; text-align center; } .media td { padding 0 2px; } .media iframe nth-of-type(n+2) { margin-top 0.3em; } .youtube + .nicovideo, .youtube + .soundcloud, .nicovideo + .soundcloud { margin-top 0.75em; } .media_section { display flex; align-items center; text-align center; } .media_section before, .media_section after { display block; flex-grow 1; content ; height 1px; } .media_section before { margin-right 0.5em; background linear-gradient(-90deg, #888, transparent); } .media_section after { margin-left 0.5em; background linear-gradient(90deg, #888, transparent); } .media_notice { color firebrick; font-size 77.5%; } /** Around track styling **/ .next-track { float right; } /** Infomation styling **/ #trackinfo .info_header th { padding .3em .5em; background-color #D8D8D8; font-size 95%; } #trackinfo .infomation_show_btn_wrapper { float right; font-size 12px; user-select none; } #trackinfo .infomation_show_btn { cursor pointer; } #trackinfo .info_content td { padding 0 0 0 5px; height 0; transition .3s; } #trackinfo .info_content ul { padding 0; margin 0; max-height 0; list-style initial; transition .3s; } #trackinfo .info_content li { opacity 0; visibility hidden; margin 0 0 0 1.5em; transition .3s, opacity .2s; } #trackinfo .info_content.infomation_show td { padding 5px; height 100%; } #trackinfo .info_content.infomation_show ul { padding 5px 0; max-height 50em; } #trackinfo .info_content.infomation_show li { opacity 1; visibility visible; } #trackinfo .info_content.infomation_show li nth-of-type(n+2) { margin-top 10px; } /** Lyrics styling **/ #lyrics { font-size 1.06em; line-height 1.6em; } .not_in_card, .inaudible { display inline; position relative; } .not_in_card { border-bottom dashed 1px #D0D0D0; } .tooltip { display flex; visibility hidden; position absolute; top -42.5px; left 0; width 275px; min-height 20px; max-height 100px; padding 10px; border-radius 5px; background-color #555; align-items center; color #FFF; font-size 85%; line-height 20px; text-align center; white-space nowrap; opacity 0; transition 0.7s; -webkit-user-select none; -moz-user-select none; -ms-user-select none; user-select none; } .inaudible .tooltip { top -68.5px; } span hover + .tooltip { visibility visible; top -47.5px; opacity 0.8; transition 0.3s; } .inaudible span hover + .tooltip { top -73.5px; } .not_in_card span.hide { top -42.5px; opacity 0; transition 0.7s; } .inaudible .img { display inline-block; width 3.45em; height 1.25em; margin-right 4px; margin-bottom -3.5px; margin-left 4px; background-image url(https //img.atwikiimg.com/www31.atwiki.jp/touhoukashi/attach/2971/7/Inaudible.png); background-size contain; background-repeat no-repeat; } .not_in_card after, .inaudible .img after { content ; visibility hidden; position absolute; top -8.5px; left 42.5%; border-width 5px; border-style solid; border-color #555 transparent transparent transparent; opacity 0; transition 0.7s; } .not_in_card hover after, .inaudible .img hover after { content ; visibility visible; top -13.5px; left 42.5%; opacity 0.8; transition 0.3s; } .not_in_card after { top -2.5px; left 50%; } .not_in_card hover after { top -7.5px; left 50%; } .not_in_card.hide after { visibility hidden; top -2.5px; opacity 0; transition 0.7s; } /** For mobile device styling **/ .uk-overflow-container { display inline; } #trackinfo.mobile { display table; float none; width 100%; margin auto; margin-bottom 1em; } #trackinfo.mobile th { text-transform none; } #trackinfo.mobile tbody tr not(.media) th { text-align left; background-color unset; } #trackinfo.mobile td { white-space normal; } document.addEventListener( DOMContentLoaded , function() { use strict ; const headers = { title アルバム別曲名 , album アルバム , circle サークル , vocal Vocal , lyric Lyric , chorus Chorus , narrator Narration , rap Rap , voice Voice , whistle Whistle (口笛) , translate Translation (翻訳) , arrange Arrange , artist Artist , bass Bass , cajon Cajon (カホン) , drum Drum , guitar Guitar , keyboard Keyboard , mc MC , mix Mix , piano Piano , sax Sax , strings Strings , synthesizer Synthesizer , trumpet Trumpet , violin Violin , original 原曲 , image_song イメージ曲 }; 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Market Analysis The demand for high transmission capacity availability is expanding with the headways in end-use applications across a few industry verticals and the shift from customary server-based activities to cloud-based stages. This has limited the reception of actual registering assets as cloud stages offer advantages, for example, the limited expense of tasks, improved information security, no compelling reason to put resources into and keep up with costly IT framework, simple to send applications, and availability to anybody in distant areas. Moreover, the interest for 5G availability among ventures to execute modern IoT is acquiring force. Fiber optics links assume an imperative part in building a 5G foundation. Along these lines, the rising interest for high-velocity internet providers is relied upon to drive the development of the worldwide fiber optics market during the review time frame. Progressions in the advances, including man-made reasoning (AI), 5G organization, Internet of things (IoT), huge information, and virtual/expanded/broadened the truth, are acquiring footing, thus, expanding interest for fast of more than 100 Gbps, low-idleness, and dependable organization association. Along these lines, the expanding utilization of FTTX networks is relied upon to drive the development of the worldwide fiber optics market during the conjecture time frame. The Fiber Optics Market is driven by factors that include rising interest for fast internet providers and expanding utilization of FTTX organizations. Furthermore, the rising interest for fiber optic links in aviation and auto ventures are opening new ways to fortunate the business players to enhance and extend their business to a higher level. It is generally conveyed across different end clients, including telecom and broadband, modern, military, utilities, and aviation. Request a Free Sample @ https //www.marketresearchfuture.com/sample_request/1072 Market Segmentation The Global Fiber Optics Market has fragmented the fiber optics market by mode type, application, end client, and locale. In view of mode type, the fiber optics market has been isolated into single-mode and multi-mode. Among these, the single-mode portion overwhelmed the market in 2019; it is relied upon to keep up with its predominance all through the conjecture period at the higher CAGR of 8.9% during the estimated time frame. Single-mode fiber is an indispensable piece of broadband organizations and is intended to send information over significant distances. In light of use, the fiber optics market has been divided into significant distance correspondence, submarine link, FFTX, neighborhood portable metro organization, CATV and other LAN. The significant distance correspondences portion ruled the worldwide fiber optics market in 2019; it is assessed to keep up with its predominance all through the figure period. Then again, the FTTX Segment is relied upon to enlist the most elevated CAGR of 9.9% during the review time frame, 2020-2030. The reception of fiber optics for significant distance correspondence has expanded in different businesses. With the IT and telecom industry being the biggest end clients of fiber optic links to give nearby and significant distance phone, internet providers to the end client. There has been a fast development in the reception of FTTX in European nations as fiber optic innovation has turned into the vehicle of decision for different auto applications. In light of the end client, the fiber optics market has been sectioned into telecom and broadband, modern, military, utilities, aviation, and different employments. The telecom and broadband fragment ruled the worldwide fiber optics market in 2019; it is assessed to keep up with its strength all through the estimated period. The rising interest for rapid internet providers has expanded the utilization of fiber optics in the broadcast communications and broadband market. By locale, the fiber optics market has been portioned into North America, Europe, Asia-Pacific, South America, and the Middle East and Africa. Asia-Pacific ruled the fiber optics market in 2019 with a worth of USD 2,878.4 million and is relied upon to arrive at USD 5,034.2 million every 2026 at a CAGR of 8.5%. Be that as it may, the market in the Middle East and Africa is assessed to witness the most elevated CAGR of 9.1% during the estimated time frame, 2020-2026. Regional Analysis Asia-Pacific overwhelms the fiber optics market because of the various shrewd city projects inside the district. North America is relied upon to observe huge development during the conjecture time of 2021 to 2028 in view of the increment in the infiltration of optical fiber advances in the locale. Key Players Eminent contenders profiled in the global fiber optic market report include Extron Electronics (U.S.), TE Connectivity (Switzerland), L-com.com (U.S.), Geokon, Incorporated (U.S.), Pepperl+Fuchs (Germany), Avantes (U.S), Luna (U.S.), Anixter International (U.S), Molex Incorporated (U.S.), AFC Group (Australia), Birla Furukawa Fibre Optics (India), Corning INC. (U.S.), Infinera Corporation (U.S.), Prysmian Spa (Italy), Ofs Fitel, Llc (U.S.), Finolex Cable Limited (India), Fujikura Limited (Japan), Sterlite Technologies (India), and Optical Cable Corporation (U.S.), among others. Industry News In August 2016, Infinera set with Lumentum's for DWDM stages white box optical line framework. Browse Full Report Details @ https //www.marketresearchfuture.com/reports/fibre-optic-cable-market-1072 Table of Contents 1 Executive Summary 2 Scope of The Report 2.1 Market Definition 2.2 Scope of The Study 2.2.1 Research Objectives 2.2.2 Assumptions Limitations 2.3 Market Structure Continued… Similar Report*** Internet of things (IoT) Market https //ictmrfr.blogspot.com/2022/04/internet-of-things-market-growth-key.html B2B Telecommunication Market https //www.scutify.com/articles/2022-04-12-b2b-telecommunication-market-analysis--geographic-growth-opportunities-for-it-security-and-data- Cash Management System Market https //market-research-future.tribe.so/post/cash-management-system-market-size-receives-a-rapid-boost-in-economy-due-to--625d5382d24f49591bd3befb https //www.scutify.com/articles/2022-04-18-cash-management-system-market-size-receives-a-rapid-boost-in-economy-due-to-high-emerging-demands About Market Research Future At Market Research Future (MRFR), we enable our customers to unravel the complexity of various industries through our Cooked Research Report (CRR), Half-Cooked Research Reports (HCRR), Raw Research Reports (3R), Continuous-Feed Research (CFR), and Market Research Consulting Services. Contact Market Research Future (Part of Wantstats Research and Media Private Limited) 99 Hudson Street, 5Th Floor New York, NY 10013 United States of America 1 628 258 0071 (US) 44 2035 002 764 (UK) Email sales@marketresearchfuture.com Website https //www.marketresearchfuture.com #market #research #industry #data #report #share #digital #gnews Plugin Error キーワードを入力してください。 #trend #future #analyis #industryreport #industrygrowth #demographic #strategy #manegment
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CHAPTER VII UP CHAPTER IX CHAPTER VIII Anne s Bringing-up Is Begun For reasons best known to herself, Marilla did not tell Anne that she was to stay at Green Gables until the next afternoon. During the forenoon she kept the child busy with various tasks and watched over her with a keen eye while she did them. By noon she had concluded that Anne was smart and obedient, willing to work and quick to learn; her most serious shortcoming seemed to be a tendency to fall into daydreams in the middle of a task and forget all about it until such time as she was sharply recalled to earth by a reprimand or a catastrophe. When Anne had finished washing the dinner dishes she suddenly confronted Marilla with the air and expression of one desperately determined to learn the worst. Her thin little body trembled from head to foot; her face flushed and her eyes dilated until they were almost black; she clasped her hands tightly and said in an imploring voice "Oh, please, Miss Cuthbert, won t you tell me if you are going to send me away or not? I ve tried to be patient all the morning, but I really feel that I cannot bear not knowing any longer. It s a dreadful feeling. Please tell me." "You haven t scalded the dishcloth in clean hot water as I told you to do," said Marilla immovably. "Just go and do it before you ask any more questions, Anne." Anne went and attended to the dishcloth. Then she returned to Marilla and fastened imploring eyes of the latter s face. "Well," said Marilla, unable to find any excuse for deferring her explanation longer, "I suppose I might as well tell you. Matthew and I have decided to keep you--that is, if you will try to be a good little girl and show yourself grateful. Why, child, whatever is the matter?" "I m crying," said Anne in a tone of bewilderment. "I can t think why. I m glad as glad can be. Oh, GLAD doesn t seem the right word at all. I was glad about the White Way and the cherry blossoms--but this! Oh, it s something more than glad. I m so happy. I ll try to be so good. It will be uphill work, I expect, for Mrs. Thomas often told me I was desperately wicked. However, I ll do my very best. But can you tell me why I m crying?" "I suppose it s because you re all excited and worked up," said Marilla disapprovingly. "Sit down on that chair and try to calm yourself. I m afraid you both cry and laugh far too easily. Yes, you can stay here and we will try to do right by you. You must go to school; but it s only a fortnight till vacation so it isn t worth while for you to start before it opens again in September." "What am I to call you?" asked Anne. "Shall I always say Miss Cuthbert? Can I call you Aunt Marilla?" "No; you ll call me just plain Marilla. I m not used to being called Miss Cuthbert and it would make me nervous." "It sounds awfully disrespectful to just say Marilla," protested Anne. "I guess there ll be nothing disrespectful in it if you re careful to speak respectfully. Everybody, young and old, in Avonlea calls me Marilla except the minister. He says Miss Cuthbert--when he thinks of it." "I d love to call you Aunt Marilla," said Anne wistfully. "I ve never had an aunt or any relation at all--not even a grandmother. It would make me feel as if I really belonged to you. Can t I call you Aunt Marilla?" "No. I m not your aunt and I don t believe in calling people names that don t belong to them." "But we could imagine you were my aunt." "I couldn t," said Marilla grimly. "Do you never imagine things different from what they really are?" asked Anne wide-eyed. "No." "Oh!" Anne drew a long breath. "Oh, Miss--Marilla, how much you miss!" "I don t believe in imagining things different from what they really are," retorted Marilla. "When the Lord puts us in certain circumstances He doesn t mean for us to imagine them away. And that reminds me. Go into the sitting room, Anne--be sure your feet are clean and don t let any flies in--and bring me out the illustrated card that s on the mantelpiece. The Lord s Prayer is on it and you ll devote your spare time this afternoon to learning it off by heart. There s to be no more of such praying as I heard last night." "I suppose I was very awkward," said Anne apologetically, "but then, you see, I d never had any practice. You couldn t really expect a person to pray very well the first time she tried, could you? I thought out a splendid prayer after I went to bed, just as I promised you I would. It was nearly as long as a minister s and so poetical. But would you believe it? I couldn t remember one word when I woke up this morning. And I m afraid I ll never be able to think out another one as good. Somehow, things never are so good when they re thought out a second time. Have you ever noticed that?" "Here is something for you to notice, Anne. When I tell you to do a thing I want you to obey me at once and not stand stock-still and discourse about it. Just you go and do as I bid you." Anne promptly departed for the sitting-room across the hall; she failed to return; after waiting ten minutes Marilla laid down her knitting and marched after her with a grim expression. She found Anne standing motionless before a picture hanging on the wall between the two windows, with her eyes astar with dreams. The white and green light strained through apple trees and clustering vines outside fell over the rapt little figure with a half-unearthly radiance. "Anne, whatever are you thinking of?" demanded Marilla sharply. Anne came back to earth with a start. "That," she said, pointing to the picture--a rather vivid chromo entitled, "Christ Blessing Little Children"--"and I was just imagining I was one of them--that I was the little girl in the blue dress, standing off by herself in the corner as if she didn t belong to anybody, like me. She looks lonely and sad, don t you think? I guess she hadn t any father or mother of her own. But she wanted to be blessed, too, so she just crept shyly up on the outside of the crowd, hoping nobody would notice her--except Him. I m sure I know just how she felt. Her heart must have beat and her hands must have got cold, like mine did when I asked you if I could stay. She was afraid He mightn t notice her. But it s likely He did, don t you think? I ve been trying to imagine it all out--her edging a little nearer all the time until she was quite close to Him; and then He would look at her and put His hand on her hair and oh, such a thrill of joy as would run over her! But I wish the artist hadn t painted Him so sorrowful looking. All His pictures are like that, if you ve noticed. But I don t believe He could really have looked so sad or the children would have been afraid of Him." "Anne," said Marilla, wondering why she had not broken into this speech long before, "you shouldn t talk that way. It s irreverent--positively irreverent." Anne s eyes marveled. "Why, I felt just as reverent as could be. I m sure I didn t mean to be irreverent." "Well I don t suppose you did--but it doesn t sound right to talk so familiarly about such things. And another thing, Anne, when I send you after something you re to bring it at once and not fall into mooning and imagining before pictures. Remember that. Take that card and come right to the kitchen. Now, sit down in the corner and learn that prayer off by heart." Anne set the card up against the jugful of apple blossoms she had brought in to decorate the dinner-table--Marilla had eyed that decoration askance, but had said nothing-- propped her chin on her hands, and fell to studying it intently for several silent minutes. "I like this," she announced at length. "It s beautiful. I ve heard it before--I heard the superintendent of the asylum Sunday school say it over once. But I didn t like it then. He had such a cracked voice and he prayed it so mournfully. I really felt sure he thought praying was a disagreeable duty. This isn t poetry, but it makes me feel just the same way poetry does. `Our Father who art in heaven hallowed be Thy name. That is just like a line of music. Oh, I m so glad you thought of making me learn this, Miss-- Marilla." "Well, learn it and hold your tongue," said Marilla shortly. Anne tipped the vase of apple blossoms near enough to bestow a soft kiss on a pink-cupped bud, and then studied diligently for some moments longer. "Marilla," she demanded presently, "do you think that I shall ever have a bosom friend in Avonlea?" "A--a what kind of friend?" "A bosom friend--an intimate friend, you know--a really kindred spirit to whom I can confide my inmost soul. I ve dreamed of meeting her all my life. I never really supposed I would, but so many of my loveliest dreams have come true all at once that perhaps this one will, too. Do you think it s possible?" "Diana Barry lives over at Orchard Slope and she s about your age. She s a very nice little girl, and perhaps she will be a playmate for you when she comes home. She s visiting her aunt over at Carmody just now. You ll have to be careful how you behave yourself, though. Mrs. Barry is a very particular woman. She won t let Diana play with any little girl who isn t nice and good." Anne looked at Marilla through the apple blossoms, her eyes aglow with interest. "What is Diana like? Her hair isn t red, is it? Oh, I hope not. It s bad enough to have red hair myself, but I positively couldn t endure it in a bosom friend." "Diana is a very pretty little girl. She has black eyes and hair and rosy cheeks. And she is good and smart, which is better than being pretty." Marilla was as fond of morals as the Duchess in Wonderland, and was firmly convinced that one should be tacked on to every remark made to a child who was being brought up. But Anne waved the moral inconsequently aside and seized only on the delightful possibilities before it. "Oh, I m so glad she s pretty. Next to being beautiful oneself--and that s impossible in my case--it would be best to have a beautiful bosom friend. When I lived with Mrs. Thomas she had a bookcase in her sitting room with glass doors. There weren t any books in it; Mrs. Thomas kept her best china and her preserves there--when she had any preserves to keep. One of the doors was broken. Mr. Thomas smashed it one night when he was slightly intoxicated. But the other was whole and I used to pretend that my reflection in it was another little girl who lived in it. I called her Katie Maurice, and we were very intimate. I used to talk to her by the hour, especially on Sunday, and tell her everything. Katie was the comfort and consolation of my life. We used to pretend that the bookcase was enchanted and that if I only knew the spell I could open the door and step right into the room where Katie Maurice lived, instead of into Mrs. Thomas shelves of preserves and china. And then Katie Maurice would have taken me by the hand and led me out into a wonderful place, all flowers and sunshine and fairies, and we would have lived there happy for ever after. When I went to live with Mrs. Hammond it just broke my heart to leave Katie Maurice. She felt it dreadfully, too, I know she did, for she was crying when she kissed me good-bye through the bookcase door. There was no bookcase at Mrs. Hammond s. But just up the river a little way from the house there was a long green little valley, and the loveliest echo lived there. It echoed back every word you said, even if you didn t talk a bit loud. So I imagined that it was a little girl called Violetta and we were great friends and I loved her almost as well as I loved Katie Maurice--not quite, but almost, you know. The night before I went to the asylum I said good-bye to Violetta, and oh, her good-bye came back to me in such sad, sad tones. I had become so attached to her that I hadn t the heart to imagine a bosom friend at the asylum, even if there had been any scope for imagination there." "I think it s just as well there wasn t," said Marilla drily. "I don t approve of such goings-on. You seem to half believe your own imaginations. It will be well for you to have a real live friend to put such nonsense out of your head. But don t let Mrs. Barry hear you talking about your Katie Maurices and your Violettas or she ll think you tell stories." "Oh, I won t. I couldn t talk of them to everybody--their memories are too sacred for that. But I thought I d like to have you know about them. Oh, look, here s a big bee just tumbled out of an apple blossom. Just think what a lovely place to live--in an apple blossom! Fancy going to sleep in it when the wind was rocking it. If I wasn t a human girl I think I d like to be a bee and live among the flowers." "Yesterday you wanted to be a sea gull," sniffed Marilla. "I think you are very fickle minded. I told you to learn that prayer and not talk. But it seems impossible for you to stop talking if you ve got anybody that will listen to you. So go up to your room and learn it." "Oh, I know it pretty nearly all now--all but just the last line." "Well, never mind, do as I tell you. Go to your room and finish learning it well, and stay there until I call you down to help me get tea." "Can I take the apple blossoms with me for company?" pleaded Anne. "No; you don t want your room cluttered up with flowers. You should have left them on the tree in the first place." "I did feel a little that way, too," said Anne. "I kind of felt I shouldn t shorten their lovely lives by picking them--I wouldn t want to be picked if I were an apple blossom. But the temptation was IRRESISTIBLE. What do you do when you meet with an irresistible temptation?" "Anne, did you hear me tell you to go to your room?" Anne sighed, retreated to the east gable, and sat down in a chair by the window. "There--I know this prayer. I learned that last sentence coming upstairs. Now I m going to imagine things into this room so that they ll always stay imagined. The floor is covered with a white velvet carpet with pink roses all over it and there are pink silk curtains at the windows. The walls are hung with gold and silver brocade tapestry. The furniture is mahogany. I never saw any mahogany, but it does sound SO luxurious. This is a couch all heaped with gorgeous silken cushions, pink and blue and crimson and gold, and I am reclining gracefully on it. I can see my reflection in that splendid big mirror hanging on the wall. I am tall and regal, clad in a gown of trailing white lace, with a pearl cross on my breast and pearls in my hair. My hair is of midnight darkness and my skin is a clear ivory pallor. My name is the Lady Cordelia Fitzgerald. No, it isn t--I can t make THAT seem real." She danced up to the little looking-glass and peered into it. Her pointed freckled face and solemn gray eyes peered back at her. "You re only Anne of Green Gables," she said earnestly, "and I see you, just as you are looking now, whenever I try to imagine I m the Lady Cordelia. But it s a million times nicer to be Anne of Green Gables than Anne of nowhere in particular, isn t it?" She bent forward, kissed her reflection affectionately, and betook herself to the open window. "Dear Snow Queen, good afternoon. And good afternoon dear birches down in the hollow. And good afternoon, dear gray house up on the hill. I wonder if Diana is to be my bosom friend. I hope she will, and I shall love her very much. But I must never quite forget Katie Maurice and Violetta. They would feel so hurt if I did and I d hate to hurt anybody s feelings, even a little bookcase girl s or a little echo girl s. I must be careful to remember them and send them a kiss every day." Anne blew a couple of airy kisses from her fingertips past the cherry blossoms and then, with her chin in her hands, drifted luxuriously out on a sea of daydreams. CHAPTER VII UP CHAPTER IX 今日 - | 昨日 - | Total - since 05 June 2007 last update 2007-06-05 01 29 55 (Tue)
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「HISTORY OF THE OTHER SIDE」 PV＋ライブ映像＋貴重映像集 「CHATEAU DE VERSAILLES」 2008/12/23 C.C.Lemonホールワンマンライブ映像 ※収録曲・その他詳細については上記オフィシャルサイト or ディスコグラフィ DVDs にて ライブDVD 「CHATEAU DE VERSAILLES」 発売日：2009/5/20 品番：SASDVD-011 価格：￥6,300 (税込) 作品形態：DVD 2枚組 【作品内容】 Versailles史上初となったホールワンマンである2008年12月23日CCレモンホールのライブが遂に映像化!! MCも含む約二時間のライブ全てを15台のカメラで完全収録!今まで発表したほぼ全ての楽曲を演奏し、世界メジャーデビューの発表もあった感動的なライブがDVDで完全蘇生される。 【収録曲】 SE -Prelude- OVERTURE Aristocrat s Symphony Antique in the Future Second Fear SMC zombie windress SFORZANDO PRINCESS SILENT KNIGHT SE -INTRO- The Love from a Dead Orchestra MC SUZERAIN BEAST OF DESIRE After Cloudia MC Forbidden gate History of The Other Side PRINCE アンコール 1 MC Shout Bites The Red Carpet Day アンコール 2 Sympathia MC The Revenant Choir SE -Sympathia- PV＋ライブ映像＋貴重映像集DVD 「HISTORY OF THE OTHER SIDE」 発売日：2009/5/20 品番：SASDVD-009 価格：￥4,935 (税込) 作品形態：DVD 2枚組 【作品内容】 今年6月に世界メジャーデビューするVersaillesが初の映像作品をインディーズからリリース!! 本作には彼らの代表曲でありながらも入手が完全に不可能だった「The Revenant Choir」のPVや、海外盤にのみ収録されていた「Shout Bites」のPVを含む3曲入りのPV集と、2008年夏の主なライブから9曲を厳選し初収録。 更には、世界中で話題となった結成時のYOUTUBE映像やアメリカやヨーロッパなどの海外公演の模様、そして2008年6月に行われた男性限定ライブの模様や撮影風景などのオフショットなどの膨大な貴重映像に加え、撮り下しメンバーインタビューも収録!! 結成からメジャーデビューに至るまでの軌跡を余す事なく収録したVersaillesのインディーズ時代の集大成作品。 【PV収録曲】 The Revenant Choir Shout Bites Aristocrat s Symphony 【ライブ収録曲】 (2008年夏のツアーを中心に収録) The Revenant Choir Shout Bites BEAST OF DESIRE Forbidden gate The Red Carpet Day Aristocrat s Symphony zombie After Cloudia History of The Other Side 【Versaillesヒストリー】 (ライブ映像、オフショット映像) 2007年6月23日 目黒鹿鳴館 男性限定ショーケース 2007年6月24日 恵比寿LIQUID ROOM Versailles 1st Live 2007年8月30日 渋谷O-EAST「The Red Carpet Day」 2007年秋 全国ツアー「日本耽美革命」 ※限定販売DVD「裏貴族」より抜粋 カレンダー撮影風景 2008年春 初のヨーロッパツアー「欧州耽美革命」 2008年5月6日 代官山UNIT「薔薇の末裔」 初ワンマン 2008年5月29日～6月3日 アメリカ ダラス～ハリウッド 2008年6月22日 目黒鹿鳴館 男性限定ライブ「薔薇族集会」 2008年夏 ～写真集撮影風景～ 2008年10月 アメリカ ワシントンD.C.～ニューヨーク 2008年秋 全国ツアー「-TOUR 08 CHATEAU DE VERSAILLES-」 【CM】 First Live 「2007.6.24 Ebisu LIQUID ROOM」 First Album 「Lyrical Sympathy」 First Single 「PRINCE PRINCESS」 【インタビュー】 YUKI -DRUM- JASMINE YOU -BASS- TERU -GUITAR- HIZAKI -GUITAR- KAMIJO -VOCAL- 各ショップ特典まとめ ※特典は数に限りがあります。必ず購入前に各ショップにお問合せ下さい。 ※詳細は 各ショップHP にて HISTORY OF THE OTHER SIDE CHATEAU DE VERSAILLES 自主盤倶楽部 コメントDVD(タイトル別) コメントDVD(タイトル別) ZEALLINK コメントDVD コメントDVD ブランド エックス携帯は こちら コメントDVD(Type-A) コメントDVD(Type-B) ライカエジソン携帯は こちら コメントDVD(タイトル別) コメントDVD(タイトル別) disk union※PCのみ 2枚同時購入でコメントDVD＋ジャケットデザインポスター GURUGURU Online Shop携帯は こちら 2枚同時購入でコメントDVD PureSound※PCのみ 2枚同時購入でコメントDVD HMV ONLINE携帯は こちら オンラインセール割引 オンラインセール割引 Neowing携帯は こちら B2ポスター(Type A) B2ポスター(Type B)