This paper discusses 813 (1923) performed by Ii Yoho’s theatre company at the Hongoza (Hongo Theatre). This play is an adaptation of Maurice Leblanc’s detective novel, 813; however, some of the characters and settings have been replaced with Japanese alternatives, and some scenes have been omitted. Ii Yoho (1871–1932) is considered a leading actor of the Shinpa: a new theatre school known to be significantly different from traditional Kabuki, which was established in the Meiji era. He first appeared on stage at the Seibikan in 1891 and remained at the forefront of Shinpa until his death in 1932. His productions are considered to be influenced by Kabuki, exposing him significantly to the disdain of theatre critics. Consequently, Shinpa is now regarded as an imitation of Kabuki. Early-Shinpa was undoubtedly influenced by Kabuki; however, it sought its own unique style as well. Kawakami Otojiro (1864–1911), a leading actor of Early-Shinpa, is thought to have spent his life working on a style of theatre that differed from Kabuki. Predominantly for this reason, some researchers argue that Early-Shinpa and Shinpa should be classified as separate genres with different lineages. However, there are elements in the staging of 813 that suggest a continuity between Early-Shinpa and Shinpa. The first reason is that it is an adapted detective play. The early-Shinpa frequently staged detective plays based on newspaper reports of crimes and detective novels from the West. Such performances continued existing until the early Showa period. Ii Yoho also staged detective plays. The staging of 813, based on Leblanc’s detective novel, suggests that Ii adopted the performance of detective plays from Early-Shinpa; another reason is the use of spectacular stage design in its production. In the pre-production publicity, Ii had touted the newly designed stage set as a selling proposition of 813. The sets were equipped with devices such as trapdoors, lifts and hidden spaces, and a film was used to represent the big fire scene. These techniques were once the specialty of Kawakami Otojiro. In the staging of his 1894 trilogy of works Igai (meaning ‘unforeseen’), Mata-Igai and Mata-Mata-Igai, he utilized the latest technology of his time. Notably, the appearance of a full-scale locomotive on stage in Mata-Mata-Igai was applauded by the audience. It is thought that Ii’s attempt to attract audiences with the latest stage sets was greatly influenced by the work of Kawakami. In summary, the performance of 813 shows Shinpa still retains some of the characteristics of Early-Shinpa in the Taisho period.

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実録体小説は、写本のままで成長、変化する。この時、登場人物の付会、変容が重要な役割を果たしている。本稿では、幕末期に成立した『天一坊実記』で新たに加えられた重要な人物について、その背景を、それ以前の実録の中に探って行く。そこから見えて来るのは、謀叛を扱う実録に於ける、理想的な反逆者、為政者の型の存在である。そしてそれは、太平記読み等の、軍書講釈以来の伝統と深く関係していることも知られるのである。

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マーケティング・リサーチの分野では，従来の市場調査の領域に加え，デジタルデータ分析の領域も必要とされ，多種多様なデータを活用するインサイトビジネスが拡大している．デジタルデータ分析で利用されるビッグデータはリアルタイムに収集でき，アンケートによる実態調査の代替となることが多い．一方で，あるテーマに対する興味関心度を把握するためには，アンケートによる意識調査が有効な手段である．しかし，年次で実施されることが多い意識調査において，リアルタイム性を高めるために調査回数を増やしたとしても，回答負荷やコストの大きさから日次での継続的な実施は難しく，月次でさえも不向きである．そこで，入手しやすいWikipediaデータに着目し，個人の興味関心が反映されたデジタルデータとしての有用性を調べる．本論文では，データの種類と場所の観点からWikipediaデータの位置づけを整理し，Wikipediaページへのアクセス数の変化を可視化する方法を提案する．この方法により，コロナ禍で生活者が興味関心を持った記事ページへのアクセス数から世の中の意識変化を把握する．行動データとしてではなく，意識データとしてのWikipediaデータの役割を示す．

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This paper first examines how the Japan Broadcasting Corporation broadcasted in each region prior to the Pacific War, and how they regarded regional characteristics in each broadcast, based on data from journals such as The Japan Broadcasting Corporation journal from that time, in order to clarify discussion of locality in broadcasts prior to the Pacific War. From this research, it is clear that the locality of early radio broadcasts in Japan had three different aspects as follows: 1) the locality of broadcasting that existed initially, 2) the subsequent centralization of Japanese Broadcasting, and 3) the resumption of local broadcasting for wartime emergency broadcasts. The first aspect stemmed from the fact the Corporation organized entertainment centered programs and had been trying to provide programs to suit the taste of listeners in each region. The second aspect stemmed from the fact when the ratio of program leadership grew nationwide, regionalism in broadcasting was often emphasized by the Corporation through strengthening central control, and it was possible to broadcast relative to the political background of the time. The third aspect stemmed from the fact since it had become necessary to acknowledge practical issues such as increased production and promotion of the war, local broadcasts were once again emphasized. The first and third aspects prioritize local circumstances in broadcasting for different reasons. However, the second aspect deals with standardized local broadcasts, used by the Corporation, to influence the Japanese public.

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