The purpose of this paper is to establish a general framework within which to consider pastoral systems in the coastal zones of the arid tropics, focusing on human-camel relationships. Points at issue were determined by reviewing literature related to three topics: 1) pastoral systems in the arid tropics; 2) pastoralists living in its coastal zones; 3) human-camel relationships.

As a results of these analyses, I set up twelve topics for discussion: 1) What kinds of water do one-humped camels and camel pastoralists drink to live in the coastal zones of the arid tropics? 2) Which species of plants do one-humped camels graze there? 3) What are the differences in pasture utilization between one-humped camels and other livestock there? 4) Which species of biological resources in addition to plants do camel pastoralists utilize there? 5) How do the coastal physical environments determine biological resource utilization of camel pastoralists? 6) What kinds of niches do one-humped camels occupy in the coastal ecosystems in terms of resource patch accessibility and availability? 7) How do camel pastoralists refer to the physical environments and how do they classify them? 8) How do camel pastoralists refer to the biological environments and how do they classify them? 9) How do camel pastoralists refer to the one-humped camel and how do they classify them? 10) Which species of biological resources of the coastal zones of the arid tropics are traded, and to what extent are they traded? 11) What roles do one-humped camels play in the broader network building and inter-ethnic relationships? 12) How do the natural environments and pastoral systems of the coastal zones of the arid tropics affect the survival of ethnic groups?

Finally, I summarize my discussion on some basic data from a case study of the Beja on the Red Sea coast in Eastern Sudan, and propose a direction for my study of pastoral systems in the arid tropics.

In the Restoration Age, Gioachino Rossini (1792-1868) came to Paris and presented two adaptation operas at the Opéra de Paris: Le Siège de Corinthe and Moïse. What role these two operas played in the history of the opera has not been examined in detail, compared to his opera, Guillaume Tell (1828). The purpose of this article is to reveal the fact that Moïse (1827) played an important role in opening a new age of operas immediately before the establishment of grand opera at the Opéra de Paris by discussing how this opera was first performed in Paris.

Moïse was adopted from his own Italian opera Mosè in Egitto, which was first presented in Paris in 1822. Examination of the adopted Moïse in detail showed that renewed music especially in the 3th act (the scene of the conflict between Hebrews and Egyptians) had dramatic effects on the scene, which led to Rossini's musical dramaturgy highly appreciated by the audience.

When he adopted the opera, he faced a difficulty in reconstructing the stage of le passage de la mer rouge in 4th act, known for melodrama of Hapdé (1817). To resolve this problem, the composer and set designer experimented new staging in which visual reality is fused with music by emphasizing the chorus of Hebrews. This experiment failed in this opera but motivated him to bring innovation to operas, eventually leading to the birth of a new genre, grand opera.