{
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  "uid": "SL-2789",
  "name": "九鬼周造",
  "version": "V2研究贡献账",
  "updatedAt": "2026-09-15",
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    "q": "Q = 10^(M/2) − 1",
    "light": "Lᵢ = aᵢ × Qᵢ",
    "total": "L = Σ Lᵢ",
    "score": "S = 2 × log₁₀(1 + L)"
  },
  "scopeNote": "本轮当前已列4项有限研究账；M与归功份额为可修订判断。未覆盖内容和未核清的负面作用不按零处理，具体缺口见逐项说明。",
  "exclusions": [
    {
      "id": "kuki-shuzo-gap-1",
      "title": "未闭合来源、协作和后世效果",
      "reason": "需要进一步原始档案核实，不能自动归因。"
    }
  ],
  "items": [
    {
      "id": "OUT-SL2789-1935-PROBLEM-OF-CONTINGENCY-MODAL-METAPHYSICS",
      "title": "《偶然性的问题》的三样态模态形而上学",
      "summary": "把概念属性、因果系列相遇和实际世界之外的选择可能分别建模，并尝试由逻辑层推进到经验与形而上层。 《偶然性的问题》中将偶然作为必然之否定并区分定言、假言、离接三样态，连接个体、因果、时间、历史、艺术与存在的系统理论；iki与押韵只计各自应用残余。",
      "M": "5.6",
      "budget": [
        {
          "actor": "九鬼周造",
          "actorId": "SL-2789",
          "type": "PERSON",
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        {
          "actor": "安托万·奥古斯丁·古诺",
          "actorId": "SL-3612",
          "type": "PERSON",
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        {
          "actor": "作品中可辨识的模态逻辑、形而上学及近现代思想前史",
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        {
          "actor": "同期学术对话者与实质内容编辑",
          "actorId": "KUKI-SHUZO::CONTEMPORARY-SUBSTANTIVE-INTERLOCUTORS-AND-EDITORS",
          "type": "TEAM",
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        {
          "actor": "未解析的九鬼偶然性理论形成动作",
          "actorId": "KUKI-SHUZO::UNRESOLVED-CONTINGENCY-THEORY-FORMATION",
          "type": "UNALLOCATED",
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      "mReason": "保留M5.6作为当前中心：三样态把偶然性连接到个体、因果、时间、历史、艺术与存在，形成系统模态理论。现来源覆盖不足，故是保留而非本轮重新证成；没有因九鬼或亚里士多德名望调整。",
      "aReason": "九鬼保持.50、古诺.05；亚里士多德原.06没有本轮可识别且不与其原理论持续作用重复的新增形成动作，删除个人份额，也不把.06匿名搬入前史。前史保持原广义池中可辨识的.16；同期主体只有实质学术或内容编辑动作取.04，纯出版机构退出，.25未解析。",
      "overlapNote": "亚里士多德不再作为本项个人所有人，其旧.06也未并入前史；未来若恢复只能依据构成九鬼新增理论且不与亚里士多德原理论持续作用重复的具体输入。采用时须同步九鬼周造账。",
      "status": "缺证暂估",
      "missing": "当前来源与对象匹配较弱；需核初版版本谱系、全书章节、三样态来源与亚里士多德具体输入。",
      "sources": [
        {
          "label": "斯坦福哲学百科：日本美学",
          "url": "https://plato.stanford.edu/entries/japanese-aesthetics/"
        }
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      "year": "1935",
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      "changeReason": "M沿用5.6；预算已按aReason修订。精确个人份额由共同budget按actorId读取，单项分由公式生成。"
    },
    {
      "id": "OUT-SL2789-1930-STRUCTURE-OF-IKI-AESTHETICS",
      "title": "《“粹”的结构》的文化内在美学分析",
      "year": "1930",
      "summary": "把难以直译的生活审美概念作为文化内在现象处理，并连接意义结构、身体、服饰、色彩、建筑和音乐表现。 1930年岩波版《“粹”的结构》中，把iki限定为特定日本城市文化现象，以媚态、意气、谛观三契机及自然/艺术表现展开现象学—解释学分析；不主张普遍美学，不领取iki历史实践本身或后世设计采用。",
      "mReason": "SEP提供具体三契机、对象范围和非普遍化边界，NDL将现存岩波初版记为1930；按完整理论终态取M5.4，不因1929/1930书目冲突机械折价。",
      "aReason": "Kuki 0.47；欧洲方法互动0.10；iki文化前史0.20；艺术实例前史0.08；同期编辑0.04；机构0.03；未解析0.08。",
      "sources": [
        {
          "label": "来源：plato.stanford.edu",
          "url": "https://plato.stanford.edu/entries/japanese-aesthetics/"
        }
      ],
      "missing": "SEP写1929出版而NDL原版书目为昭和5年即1930；本点采用可核书目1930，并把1926初稿、可能的先行发表留作版本缺口。",
      "status": "缺证暂估",
      "overlapNote": "1930年岩波版《“粹”的结构》中，把iki限定为特定日本城市文化现象，以媚态、意气、谛观三契机及自然/艺术表现展开现象学—解释学分析；不主张普遍美学，不领取iki历史实践本身或后世设计采用。",
      "M": "5.4",
      "budget": [
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          "actor": "九鬼周造",
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        },
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          "actor": "JAPANESE AESTHETICS DESIGN MUSIC ARCHITECTURE AND LITERARY SOURCE POOL（预算列明角色）",
          "actorId": "KUKI-SHUZO::JAPANESE-AESTHETICS-DESIGN-MUSIC-ARCHITECTURE-AND-LITERARY-SOURCE-POOL",
          "type": "PREDECESSOR_POOL",
          "share": "0.08"
        },
        {
          "actor": "CONTEMPORARY EDITORS PUBLISHERS AND TEXT PRODUCTION TEAM（预算列明角色）",
          "actorId": "KUKI-SHUZO::CONTEMPORARY-EDITORS-PUBLISHERS-AND-TEXT-PRODUCTION-TEAM",
          "type": "TEAM",
          "share": "0.04"
        },
        {
          "actor": "IWANAMI AND CONTEMPORARY ACADEMIC INSTITUTIONS（预算列明角色）",
          "actorId": "KUKI-SHUZO::IWANAMI-AND-CONTEMPORARY-ACADEMIC-INSTITUTIONS",
          "type": "INSTITUTION",
          "share": "0.03"
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        {
          "actor": "UNRESOLVED KUKI IKI ATTRIBUTION（预算列明角色）",
          "actorId": "KUKI-SHUZO::UNRESOLVED-KUKI-IKI-ATTRIBUTION",
          "type": "UNALLOCATED",
          "share": "0.08"
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      "share": "0.47",
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      "light": "235.088000",
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    {
      "id": "OUT-SL2789-1930-ETERNAL-RECURRENT-TIME-THEORY",
      "title": "循环时间对Bergson与Heidegger时间论的替代方案",
      "year": "1930",
      "summary": "提出循环/永恒复归式时间结构，反对把时间本质完全系于人的意志或意识。 约1930年的循环时间论：作为Bergson与Heidegger把时间关联意志/意识、有限性与超越之理论的替代方案；偶然三样态的一般系统归《偶然性的问题》点，后世整理与保存排除。",
      "mReason": "京都大学学术论文摘要明确其独特循环时间理论及Bergson/Heidegger对照，足以作有限M5.1，不把后世论文的解释全归Kuki。",
      "aReason": "Kuki 0.47；Bergson 0.10；Heidegger 0.09；时间论前史0.17；同期讲演/编辑0.05；机构0.04；未解析0.08。",
      "sources": [
        {
          "label": "来源：plato.stanford.edu",
          "url": "https://plato.stanford.edu/entries/japanese-aesthetics/"
        }
      ],
      "missing": "需原讲稿全文确认循环结构、轮回来源及与《偶然性的问题》的重叠范围。；后世论文与保存仅用于本轮核证；若存在后世整理终态，应另立传递成果而不切原始理论预算。",
      "status": "缺证暂估",
      "overlapNote": "约1930年的循环时间论：作为Bergson与Heidegger把时间关联意志/意识、有限性与超越之理论的替代方案；偶然三样态的一般系统归《偶然性的问题》点，后世整理与保存排除。",
      "M": "5.1",
      "budget": [
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          "actor": "亨利·柏格森",
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    {
      "id": "OUT-SL2789-1931-RHYME-IN-JAPANESE-POETRY-POETICS",
      "title": "《日本诗的押韵》的声音形式与诗学方案",
      "year": "1931",
      "summary": "把通常不以尾韵为中心的日语诗歌置于跨诗学声音形式比较中，并提出可实践的押韵方案。 NDL所载1931年《日本诗的押韵》及其主张：在日语诗中讨论/提议押韵形式，并把节奏、韵与语言表达存在相连接；本人诗作只作方法示例，不按诗篇另复制M。",
      "mReason": "NDL确认1931、158页独立著作，京都大学与欧洲日本哲学研究分别支持Valéry输入和“新押韵形式”主张，按具体诗学方案取M5.0；不从书名虚构普及效果。",
      "aReason": "Kuki 0.48；Valéry 0.09；诗学前史0.21；诗例/编辑0.07；机构0.05；未解析0.10。",
      "sources": [
        {
          "label": "来源：plato.stanford.edu",
          "url": "https://plato.stanford.edu/entries/japanese-aesthetics/"
        }
      ],
      "missing": "尚未阅读全文，具体押韵规则和本人示例的技术质量需逐章校准；这一证据缺口不机械降低M。；实际诗歌采用与读者效果未证，不计。",
      "status": "缺证暂估",
      "overlapNote": "NDL所载1931年《日本诗的押韵》及其主张：在日语诗中讨论/提议押韵形式，并把节奏、韵与语言表达存在相连接；本人诗作只作方法示例，不按诗篇另复制M。",
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  "rank": 87
}