The formation of vernacular names was studied for the weed species of genus Rorippa, Cruciferae. The linguistic mode and meaning were compared among scientific, English, and Japanese standard and vernacular names. The scientific, English, and Japanese standard names were derived mainly from morphological and ecological traits and place-names, while the vernacular names were uniquely formed by local farmers. The result obtained for that study provided crucial insight for the plant naming programme discussed in this paper.
  The plant naming programme was designed and applied twice to the activities of Dokodemo Museum Eco-Project and Nukui Agriculture School for Boys and Girls in 2004. These activities required them to name a plant on their own after observing them and their habitats in the fields. The names given by the participants had the structure of {adjective word + root + supplementary word} or consisted of unique words without any root. The root was mostly a word indicating a plant habit or organs such as herbs, flowers, seeds, leaves and so on. The adjective word often showed morphological, ecological, and sensuous traits or their composition. The supplementary word was rarely used when the participants hesitated to name a plant. At the same time, they drew sketches of plants and searched for further information in illustrated plant dictionaries. After checking, the Japanese standard and scientific names and reading comments, it is possible that they might have understood that their names for plants were fair and sensible.
  First, children form vernacular names, then learn Japanese standard names and finally learn scientific names. This is a suitable way to learn about plants. This plant naming programmes may be effective in re-creating of children's culture which is have almost lost at the present time.

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　It is thought that Internet is a final distribution channel of the rich contents such ad movie, animation, TV program and so on. But that business model which reusing rich contents on Internet is not working well. The paper shows that a online contents should be the first distribution channel and the original work of rich contents.

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This paper introduces some examples of writing tasks and practices which enable learners to write concisely. The advanced Japanese learners sometimes face the difficulty in making handouts and material for presentations. One of the problems is to make sentences concisely by using appropriate words in appropriate style. These tasks and practices helped learners to improve their writing skills. This paper will show you how we performed these lessons in two different classes and what they achieved.

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In this paper, from the viewpoint that learners explore and construct knowledge actively, we proposed a method of note-taking by arranging concepts and a course for teaching the method through collaboration. We also carried out a practice-session of teaching the method. Through the method of note-taking used in this research, learners extract important concepts from learning materials and structure them as a concept map. The process consists of three phases; cutting, judgment, and relating. These activities, however, are too difficult for cognitively poor learners. So we set up an individual session and a collaborative session. In the individual session, a learner individually carries out cutting, judgment, and relating, and makes a concept map with paper cars and sheets. The purpose of this session is to make the learner think about the learning materials and prepare for the collaborative session. In the collaborative session, learners form small groups, examine their concept maps, and collaboratively make the group's concept map with the software "Undo-Kun". Another purpose of this session is to make the learners mutually learn from their differences and share their methods for arranging concepts. We carried out a teaching practice of "Workings of Current and Magnet" in junior high school, in which 120 students participated. As a result of the evaluation of the practice, the note-taking method and the teaching method proved to be effective.

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This study investigated how three international first-year students took notes and retold the contents of the source text through a writing task. Analysis of the notes revealed that some symbols and abbreviations were commonly used, but the selection of important information and note organization varied among the students. Results also indicated that notes that relied heavily on the language of the source text often led to verbatim overlaps with the original source material in the written retelling, whereas notes less reliant on the original text led to production using the students' own words but often with low accuracy.

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This research attempts to analyze qualitatively (and partly quantitatively) how comic strips of the three major national newspapers in Japan, Mainichi, Yomiuri, and Asahi, both in morning and in evening editions, characterized Donald Trump during the pre-inauguration year and first half of his primary term, from 2016 to 2018.

The titles of the comics examined are as follows: Mainichi’s “Asatte Kun”(Mr. Day-after-Tomorrow), “Sakurada Desu!”(Hi, we are the Sakuradas!) and “Uchi no Baai ha”(In Case of our Family), Yomiuri’s “Kobo Chan”(Kobo, the Li’l Rascal) and “Office Kenta”(Kenta, the Office Dog), and Asahi’s “Nono Chan”(Little Nono) and “Chikyu Boei Ke no Hitobito”(The Earth-Saver Family).

From those comic strips, this study picked up all pieces representing Donald Trump whether verbally or visually. For comparison, those depicting Barack Obama are analyzed in the same manner.

The quantitative analysis has found that comic strips of Trump far outnumbered those of Obama. While Obama counted 5 during the pre-inauguration year and first half of his primary term (2008–10), Trump counted 45 during the same time period (2016–18). Trump even outnumbered Obama’s all-time total of 30 from the pre-inauguration year to the end of his second term (2008–16). As the qualitative analysis indicates, Trump’s remarkable prominence can be attributed to keen public interest due to his excessively negative images as well as his potentially immense impact on Japan and the whole world.

The qualitative analysis in the pre-inauguration year (2016) has found that offensiveness, anxiety, and fear are the most common factors of Trump’s characterization in newspaper comic strips. Both verbally and visually, he is represented as a violent and intimidating person not competent for the highest political leader of one of the most powerful nations in the world. Meanwhile, positive or favorable depiction was nonexistent. Such excessively negative portrayal makes a stark contrast with that of Obama who tended to be described as a hopeful, able, and successful figure.

Offensiveness, anxiety, and fear emerged even more conspicuously after inauguration (2017–18). As Trump began to exert political power as the President, comic strips came to characterize him more as a troublesome person causing actual harm to Japan and the rest of the world. Some pieces even showed such reactionary attitudes as helplessness, defeatism, and escapism. The gap between Trump and Obama widened further.

This research concludes that the lopsidedly negative characterization of Trump by Japanese newspaper comic strips exemplifies a form of journalism’s watchdog function. It is a primary role of mass media to inform and alarm the general public when social anxiety and fear arise as an offensive person takes power. Moreover, Japanese newspaper comic strips are unique in that they saw Trump from a rather detached and objective standpoint while the conflict between Trump and major American domestic media such as CNN kept heating up. They looked at Trump from a different perspective from Japanese national media, too, and reflected the general public’s common perception of Trump as reported by the press.

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本稿は日本のアニメ産業を事例に、芸術的な感性を問われる製品制作（開発）における情報技術導入の意義を分析する。まず、開発における工程ごとに詳細に検討することによって、「彩色」「撮影」では業界全体で情報技術が普及しているが、「作画」では一部に3DCG が組み込まれているがデジタル作画はあまり行われていないことを明らかにする。さらにこうした工程ごとの細かい分析により、情報技術の登場初期には情報技術投資と生産性の間には関係性が見られないという生産性のパラドックスが生じる理由、並びにそのことで、手描きと3DCG のハイブリッドが生まれたメカニズムも明らかになる。

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