The quantitative analysis of sentences, the study of patterns formed in the process of linguistic encoding of information, has been applied to many important documents in foreign countries. However, it was first applied to Japanese documents only in the middle decades of the 20th century. The main reason for this delay is the following characteristic of the Japanese language.
　Japanese words are not separated by spaces as in English. Thus it is difficult for the computer to recognize word boundaries.
　The purpose of this study is to build a useful full-text database of Genji for use in quantitative analysis. Using the Genji Taisei published by Chuokoron-sha as a textbook, we divided all the sentences of Genji into words to which were attached codes for parts of speech.
　In this paper we report how to build such a database and what difficulties we encountered in this process.

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Abstract: In the last stages of his scholarly life, Sugihara Shiro （1920-2009） wished to collate his lifeʼs research on the history of economic thought in a four-volume work. The ti-tles of these volumes were descriptive of not only his area of research but also his peculiar viewpoint applied in those areas. In the first volume, which is on Marx, Sugi-hara essentially viewed the essence of economy in the “economy of time,” and appre-ciated Marxʼs unique insight of the dialectical relationship between necessary labor time and free disposable time. In the second volume, which is on John Stuart Mill, Sugihara considered Mill to be a sincere inquirer of human freedom, who anticipated the conditions of modern industrial society and mass democracy. The third volume deals with Kawakami Hajime, and the fourth volume, which was unpublished, is his investigation of modern Japanese economic thought using a bibliographical ap-proach. 　Kawakami Hajime （1879-1946） was a special figure in Sugiharaʼs life. This is because Sugihara grew up in the academia of Kyoto, where Kawakamiʼs influence still remained, and inherited Kawakamiʼs moralistic views. This is seen also in Sugi-haraʼs study of Marx and John Stuart Mill. 　In this essay, the author critically examines Sugiharaʼs new interpretation of Kawakamiʼs Bimbo （Tales on Poverty） and suggests that the adoption of Marxism by Japanese intellectuals occurred under the influence of the Russian Revolution. In the authorʼs view, this historical context overshadows the work of sev-eral generations of Japanese intellectuals, including Sugihara. Kawakamiʼs moralist attitude did not change, even though he became a Marxist, and can be seen in his re-flections on religious truth and scientific truth during his prison years. When Sugi-hara called Kawakami a “Man on Voyage,” he seemed to be expressing his sympathy toward Kawakamiʼs quest for truth in the difficult years of the twentieth century. JEL classification numbers: B 14, B 51, N 35.

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In the Heian period, poems in the zōtōka (exchange poem) style strengthened social bonds and supported the court-centered polity, while Buddhist poetry (shakkyōka) was extolled for its religious expression and ability to assist the composer achieve a positive rebirth. Contrary to what is often argued, therefore, private poetry (hare no uta) wielded as much power as public poems (ke no uta). This article will show that these points also apply to fiction of the time. In The Tale of Genji, the “Suma” chapter contains the highest number of poems. All are private and are lauded for the ways they reveal a character’s true nature and depth of feeling. The Suma love poems extol Genji’s virtues to those still in the capital and lay the groundwork for his eventual pardon. However, the bonds maintained through these Suma-themed poetic exchanges become an obstacle when Genji is about to leave the tale, since clinging to earthly attachments hinders a good Buddhist rebirth. I argue that through the “proxy reply” to a “Suma” poem given in the “Maboroshi” chapter, the tale’s author points to the release of this impediment and facilitates Genji’s positive rebirth, a sign of the religious power of private poems. With a nod to the lyrical beauty of the “Suma” zōtōka, this article reveals the ways in which these poems simultaneously participate in the sociopolitical and religious worlds of the tale.

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A blank space: normally we associate it with the negative space on the written page. In this paper, I view blank spaces as metaphorical spaces. A text exists and prompts a new creation: the blank space is where this new creation takes place. Here, I wish to explore the act of appropriating the classics in early modern Japanese literature as an example of such blank spaces. Shin Yoshiwara tsunezune-gusa（published in 1689）and Yoshiwara tsurezure-gusa（composed around 1709）, for instance, offer a minimal parody of the language used in the medieval Tsurezuregusa to describe crude contemporary topics: the discrepancy in contents with Tsurezuregusa is what provokes laughter. The same type of humor can be detected in Nise

（ca. 1644）, which offers a minimal parody of every section of the Heian-period court tale Ise , but presents episodes about food, drink, illness, and gambling. Other texts employed the style of classical texts as models to record one’s thoughts. In Tsurezure Azuma kotoba（composed before 1806）kabuki actor Ichikawa Danjūrō V follows the style of Tsurezuregusa to advance reflections on contemporary matters. In Kuse （composed around 1791 and published 1822）Ueda Akinari imitates the prose style of Ise to discuss human foibles and to satirize his contemporaries. To parody or to imitate a text is to understand its original structure and logic, and to write something new accordingly. Blank spaces exist in the act of reading the classics or learning from them; these blank spaces invite readers to turn into writers; the readers-turned-writers use the blank spaces to express whatever they wish. Classical works, themselves, contain blank spaces, which lead to creativity. This line of thinking allows us to grasp what I view as the vitality of the classics.

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This article explores the semantic nuance of the term koto within the syntactic structure “N (noun or personal pronoun) + no + koto ga / wo + …” as it appears in classical Japanese literature, with a focus on the Heian period as a preliminary step toward understanding its usage in the Nara period. Since the equivalent modern Japanese structure often conveys a somewhat indefinable sense of the referent N as perceived by the speaker, I investigate whether a similar semantic dimension can be traced in earlier usage. Through close reading of selected examples from works such as Genji , Taketori and others, I observe that koto frequently serves not merely as a stylistic or grammatical filler, but as a meaningful device for expressing the speaker's subjective perspective on another person. Although Western languages lack a direct grammatical equivalent for koto in these “essence”-type constructions, the English preposition about often functions as a viable proxy in all the examined examples from the Heian period. This study adopts a heuristic approach to defining the “essence” aspect of koto, laying the groundwork for further examination of the term in Nara-period texts.

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（一社）四日市大学エネルギー環境教育研究会は、平成21年度に「伊勢竹鶏物語」という事業を開始した。同事業は、平成28年度には、環境省により「地域活性化に向けた協働取組みの加速化事業」に選定された。これにより、（一社）四日市大学エネルギー環境教育研究会は、「伊勢竹鶏物語～3RプロジェクトPart2」を行った。この事業は、3R推進、里山保全、竹の資源としての活用において成果を上げてきた。この取組みは今後、しごとづくり、ひとづくりへの拡大、四日市地域のプロモーションに大きな効果をもたらすことが期待される。

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