Looking at the history of intellectual property protection in Japan, although it recognized the need for such protection earlier than other Asian countries, its response to the protection of geographical indications was relatively slow. The author participated in the process of preparing geographical indication registration dossiers for three Vietnamese products in Japan and in investigative activities conducted in Vietnam by application examiners from the Japanese Ministry of Agriculture, Forestry and Fisheries. This study focuses on Japan's Regional Collective Trademark System (effective April 1, 2006) and Geographical Indication System (effective June 1, 2015), both of which cover indications that include geographical names. In addition, this study identifies and analyzes key considerations for foreign agricultural, forestry, and fishery products seeking protection in Japan, specifically those linked to the place where the products are produced.

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This study investigates the characteristics of Sino-Japanese and Sino-Vietnamese words that denote eight typical weather phenomena, focusing on three dimensions: phonology, independence, and borrowing. For Sino-Japanese words, the results indicate that (1) many Chinese-origin words were adapted into two-syllable or equivalent length (two morae) forms in Japanese; (2) most borrowed morphemes cannot function independently, except for the elements fuu (風) and yō (陽) ; and (3) they exhibit borrowing in all three dimensions: phonology, orthography, and semantics. Among them, semantic preservation and extension are the most prominent. Regarding Sino-Vietnamese words, the findings reveal that (1) monosyllabic Chinese-origin words retained their syllable count and followed Sino-Vietnamese pronunciation; (2) some elements can stand alone, but most are bound morphemes within compound words; and (3) modern Vietnamese borrowed Chinese phonology and semantics, not characters. Semantically, narrowing is the dominant tendency, followed by preservation, whereas semantic extension does not appear in the monosyllabic weather-related lexicon. A comparison with the original Chinese vocabulary reveals that Japanese incorporated approximately 60.5% of Chinese weather-related terms, whereas Vietnamese adopted only about 32.5%. Notably, each weather phenomenon includes at least one shared borrowed element in both languages. This research clarifies how Japanese and Vietnamese borrows from Chinese-origin vocabulary.

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This study explores the application of Kamishibai (紙芝居), a traditional Japanese storytelling medium, in Vietnam from both historical and educational perspectives. In the 1990s, Kamishibai served as a cultural bridge between Japan and Vietnam, particularly at the grassroots level: engaging local communities, cultural organizations, and individual cultural activists. Rather than constituting a one-way transmission of Japanese culture, this dialogue became reciprocal. Vietnamese authors began creating original Kamishibai works that incorporated local folklore and literature. They localized and reinterpreted the medium within the Vietnamese context. These efforts represent a deeper cultural engagement, beyond the mere introduction of foreign art forms. In recent years, the author has conducted experiments by implementing Kamishibai in university-level Japanese language classes in Vietnam to explore its pedagogical potential in depth. It has been used as a tool to enhance learners’ listening and speaking abilities, and as a creative platform for language output. This study positions Kamishibai not only as a medium of cultural exchange, but also as a promising multimodal educational resource that can enrich language-learning environments and promote deeper intercultural understanding.

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This study analyzes the detective novel Botchan Satsujin Jiken by Uchida Yasuo from the perspective of an adaptation—Botchan by Natsume Sōseki. Unlike previous research by Seki, which focused on non-comedic effects in works structured as “zokuhen” to Sōseki’s novels, this paper examines the effects produced by the elements borrowed from Botchan, through an analysis of the novel’s prologue and its detective narrative structure—particularly in relation to the suspects and victims that appear in both works. The findings indicate that these elements are based on images established in the original work and generate tension by drawing on the reader’s assumptions. For readers familiar with Botchan, Botchan Satsujin Jiken not only engages with the murder mystery narrative but also immerses them in the literary world of the original novel.

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