We have implemented a simple model of puns in a program (BOKE) which generates puns in Japanese, using linguistic information from a general-purpose lexicon. Our rough evaluation indicates that the puns generated by the program are of comparable quality to those generated by humans. BOKE differs from an earlier English-language system (JAPE) only in the lexicon and the templates used to generate the surface text-the punning mechanisms are the same. This suggests that our model of puns is language independent.

森英恵は1954年より日活を筆頭に、複数の映画会社のために衣裳デザイン並びに製作を行い、映画産業に大きく貢献した。衣裳は照明や音楽と同様、製作において高い技術が求められるとともに、映画の印象を決定付ける重要な要素である。本稿は森の仕事に注目し、『憎いあﾝちくしょう』（蔵原惟繕監督、1962年）において

また、男性登場人物の分析に偏った先行研究とは異なり、自ら行動する浅丘が役を通じて規範からのずれを垣間見せる姿について、衣裳に加えてカメラワークからも把握することを試み、男性主人公に引けを取らない重層的な女性像を明らかにする。さらには浅丘のキャリアを振り返り、日活における女性表象の変遷と日本映画史との関わりを考察する。

Heibon (published by Magazine House) was founded as a literary magazine in 1945, but it changed into a popular magazine for amusement in 1948. It had two main elements-photogravures and stories. Being tied up with both radio and cinema in many ways, it enlarged its circulation during the first half of the 1950's. However, with the spread of TV during the 1960's, Heibon changed into a magazine whose main element was photogravures featuring TV celebrities. By doing so, it expanded its circulation again during the first half of the 1970's, but was finally discontinued in 1987.

The discontinuation of the magazine may be explained by three factors influencing each other. First, the change from the age of radio and cinema into that of TV diminished the role of Heibon. Second, Myojo (published by Shueisha) gained more popularity than Heibon since the 1970's. Third, Magazine House changed into a company mainly publishing ‘lifestyle-magazines’ which depend heavily on income from advertisements.

The three changes about Heibon - two changes of itself and one change of its publisher are very important when we examine popular magazines in post-war Japan.