Whereas the erection of the Yuan Chang 袁敞 stele has been dated to Yuanchu 元初 4 (a.d. 117), there is no established view on the date of the erection of the Yuan An 袁安 stele. In recent years Yang Pin 楊頻 and Liu Haiyu 劉海宇 have concluded that it was erected in the same year as the Yuan Chang stele (i.e., Yuanchu 4). I concur with their view, but I feel that scope for further research remains in that they do not go so far as to situate the calligraphy and style of the inscription as a whole within the overall development of the seal script during the Han period.
  In this article, through a comparison of the two steles with the calligraphic style of inscriptional materials from around the same time, I accordingly seek out evidence corroborating the view that both steles were erected in Yuanchu 4. In addition, I also consider how the calligraphic style of the two steles can be positioned among these inscriptional materials.
  I compare the two steles with seal-script inscriptional materials such as the stone inscriptions on Mount Tai (Taishan 泰山), the inscriptions on stone tablets at Shaoshi 少室, the inscriptions on stone tablets at Kaimu Temple 開母廟, and so on from the perspective of the aspect ratio of the outer contour of the characters, the ratio of long lower character components, vertical and horizontal strokes, the space between horizontal strokes, the beginning and end of a brushstroke, etc., and as a result I surmise that there are strong reasons for considering the Yuan An stele to have been erected in the same year as the Yuan Chang stele. In particular, although the inscriptions on the Shaoshi and Kaimu Temple stone tablets differ in shape and structure from the two steles, they share a similar calligraphic style, and it is conceivable that there existed a common calligraphic foundation that transcended individual localities. In addition, connections can also be recognized between this common calligraphic foundation and the calligraphic style used in seal-script titles in the upper part of some inscriptions, and it is to be surmised that these seal-script titles were the result of an attempt to elaborate on this foundation in a strikingly decorative manner.
  On account of their structure and calligraphic style the two steles are often treated as steles that differ in character from other Han steles, but I point to the possibility that they may represent an intermediate style between the small seal script of the Qin period and the calligraphic style of seal-script titles that blossomed from the mid-second century onwards.

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国際文化交流がますます活発化する中で、テレビドラマは異文化コミュニケーションを促進する上で重要な役割を 果たしている。中国のテレビドラマが海外に展開される過程において、字幕翻訳は異文化の壁を打ち破り、外国の視聴者に物語の内容を伝え、中華の伝統文化を広める上で重要な意義を有している。中国ドラマの台詞において、成語は中国独自の古典的な表現の一種であり、字幕翻訳における大きな課題となっている。特に動物の成語は、比喩や誇張などの修辞法が頻繁に使用され、特定の文化的背景に基づく表現が含まれるため、その翻訳には注意が必要である。しかし、動物の成語に関する既存の研究は主に文学作品といったテクスト翻訳に焦点を当てており、字幕翻訳についての研究は限られている。そのため、本研究ではテレビドラマ『三国志演義』における動物の成語の翻訳方法を検討し、今後の成語の字幕翻訳に対する示唆を提供することを目的としている。

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　The policy changes of the Edo shogunate known as the Kansei Reforms began in 1787 with the appointment of Matsudaira Sadanobu as chief councilor following the fall of his predecessor Tanuma Okitsugu. In 1790, as part of the reforms, the Kansei Edict prohibiting teachings other than the Neo-Confucianism of Zhu Xi was issued to the head of the Hayashi family, Rector Hayashi Nobutaka, and announced to his disciples the following day.
　Previously, in the year 1788, Sadanobu had invited the Neo-Confucian Shibano Ritsuzan from Kyoto to serve in Edo as an official scholar of the shogunate. Shibano Ritsuzan and his associates Nishiyama Sessai, Rai Shunsai and other Neo-Confucians from the western regions had been advocating a prohibition of heterodox schools. While this advocacy was indeed one influence leading to the Kansei Edict, for Sadanobu the Kansei Reforms were primarily a first step towards reformation of the education system itself and their true purpose was to correct systemic corruption and install new talent in the struggling Hayashi academy.
　Under pressure to reform the academy in response to the edict, Hayashi Nobutaka seventh generation head of the Hayashi family, fell ill and died without an heir in 1792 at the age of twenty-six. In response, Sadanobu sought to install someone sympathetic to the cause of education reform and capable of managing a transformation of the academy. In 1793, the then 26-year-old Hayashi Jussai, son of Matsudaira Norimori of the Iwamura Domain was chosen as eighth generation successor to the Hayashi family. Jussai, who had studied under the Hayashi trained scholar Shibui Taishitsu, was well known as a kanshi poet and a member of the daimyo elite literary salon Fūgetsusha. (View PDF for the rest of the abstract.)

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