本論文は1990 年代哈日現象の影響を引き継ぎ、日本の物事への好意的な受容が一般化しつつある現代台湾の文脈の下で、日本のメディアコンテンツの受容から、台湾人視聴者と〈日本〉との関係性を解くことを試みる。具体的には、インターネット掲示板「PTT」の中の日本テレビトラマ掲示板で起きたドラマ「おっさんずラブ」の人気現象に注目し、そこに掲載される「おっさんずラブ」の関連投稿の考察を通じて、ドラマをめぐる言説に投影される台湾人視聴者の「〈日本〉への眼差し」の解析を、本論文の目的とする。
　まずは「〈日本〉への眼差し」を軸に先行研究を整理した結果を、「〈日本〉をめぐるファンタジー」という重層的で変動的な諸世代の〈日本〉への集合的想像によって持続的に形成されつつある動態的な枠組みで概念化した。この概念に基づき、「おっさんずラブ」の関連投稿の言説分析を通して、台湾人視聴者の「おっさんずラブ」への眼差しの向こう側に 映っている「〈日本〉をめぐるファンタジー」の重層的で変動的な構造を解析できた。言説の集中と反復、修正と転向により構築・増強されながらも、常にゆらぎとズレを伴うこの不安定な構造は、以下の三次元を行き渡って構造化されていくものである。それは①男性同士のホモセクシュアリティをめぐるユートピアと、②ドラマの構造に向ける良質ドラマ の理想像への期待といった、ドラマの「内部」に向ける視聴者の眼差しから解析された次元、及び③〈日本〉を重要な他者と位置づける集合的想像というドラマを抽象化する「外部」の議論から解析された次元を行き渡って構造化されていくものである。台湾人視聴者の重層的な〈日本〉への眼差しにより照らし出されたこの言説空間のゆらぎ、不安定性、自己増強・回復の性質は、「〈日本〉をめぐるファンタジー」という構造を前面化させてくれるのである。

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As for the survey of Civil Engineering Heritage in Japan, it was started since 1989 for the modernized structures constructed after the Meiji Restoration, while it has been nothing done for the older traditional structures before the Restoration. The reason was quite simple. At that time, the modernized structures were considered in the critical situation of demolition and replacement so that it must have been taken preference over the older traditional structures constructed before the Restoration. We also considered those older structures had been survived more than 130 years, therefore they might have been preserved by the local people. However it was mistaken. We had seen so many cases that the older traditional structures were destroyed without any hesitation, because their value as historical monument were not defined and authorized at all. That is the reason why the authors have started this project.
The modernized structures and the older traditional structures are both civil engineering heritage, but there is a large difference among them especially concerning the condition of preservation. In the case of the modernized ones, it is quite necessary to survive almost whole part of structures when they are constructed. But, in the case of the older ones, such kind of restriction is almost nonsense, because the majority of surviving structures have been repaired and renovated up to nowadays.
In this paper, the authors try to show a proposal concerning “how to classify the degree of preservation of the older traditional structures before the Restoration, that is, constructed in the Edo period and prior to that” Before this trial, we have been done a survey covering the whole country. They are divided into three parts. The first one is the previous document study using, and the second one is the census survey for all the municipalities. The third one is more individual survey by limiting the objects. The proposal is made based on such experience

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Sidney Sheldon (1917-2007), a legendary best-selling American novelist of romantic suspense, was also very popular in Japan. According to the top ten lists including Japanese authors, his name appeared for 7 consecutive years from 1988 to 1994. This unbreakable record is generally assumed by Japanese critics, who are apparently unfamiliar with his work, to be thanks to the unique translational method called "cho-yaku" (literally, super-translation) invented by Tatsuyuki TENMA (pen name of Kunio MASHIKO), a kind of technique enabling an American novel to look like one originally written in Japanese. Mr.Tenma, as the president of the publishing house Academy Shuppan, seems to have built a close relationship with Sidney Sheldon, getting his trust and permission to translate not only most of Sheldon's well-known 18 novels but also rare ones unpublished in the United States such as Man on the Run, The Dictator, and The Revenge. The Chase (1984), in which Masao, the 18-year-old Japanese heir to a Sony-like international company, survives with a samurai spirit his uncle's devilish plot in the US, remains an unforgettable present to Japan from Sidney Sheldon because it was kindly and earnestly written for Japanese learners of English, responding to Mr.Tenma's unusual request. Probably cho-yaku helped Sheldon's books sell as well as in his home country, but it was undoubtedly Sheldon's genius in storytelling that kept his Japanese fans absorbed in turning the page.

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