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雑談自由対話を実現するためのWWW上の文書からの妥当な候補文選択手法

柴田雅博, 冨浦洋一, 西口友美

人工知能学会論文誌
2009年 24 巻 6 号 507-519
発行日: 2009年
公開日: 2009/09/04

DOI https://doi.org/10.1527/tjsai.24.507

ジャーナルフリー

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We propose an open-ended dialog system that generates a proper sentence to a user's utterance using abundant documents on the World Wide Web as sources. Existing knowledge-based dialog systems give meaningful information to a user, but they are unsuitable for open-ended input. The system Eliza can handle open-ended input, but it gives no meaningful information. Our system lies between the above two dialog systems; it converses on various topics and gives meaningful information related to the user's utterances. The system selects an appropriate sentence as a response from documents gathered through the Web, on the basis of surface cohesion and shallow semantic coherence. The surface cohesion follows centering theory and the semantic coherence is calculated on the basis of the conditional distribution and inverse document frequency of content words (nouns, verbs, and adjectives.) We developed a trial system to converse about movies and experimentally found that the proposed method generated 66% appropriate responses.
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特別講演

日本臨床外科学会雑誌
2007年 68 巻 Supplement 号 S257-S264
発行日: 2007年
公開日: 2012/08/08

DOI https://doi.org/10.3919/jjsa.68.S257

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「引揚げ文学」を考える

朴裕河

日本近代文学
2012年 87 巻 116-122
発行日: 2012/11/15
公開日: 2017/06/01

DOI https://doi.org/10.19018/nihonkindaibungaku.87.0_116

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景戒と憶良と : 『霊異記』と「沈痾自哀文」(<特集>視点・「病」からの古代)

多田一臣

日本文学
2001年 50 巻 5 号 9-17
発行日: 2001/05/10
公開日: 2017/08/01

DOI https://doi.org/10.20620/nihonbungaku.50.5_9

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この論では、古代の人びとの存在論的認識が、病によってどのように深められていったのかを考えていく。その際、仏教の説く因果応報の原理が大きな影響をもたらしたが、その具体的な様相を『日本霊異記』の説話を通じてながめ、そこから編者景戒が抱いた罪の意識について検証していく。さらには『万葉集』の「沈痾自哀文」に見られる山上憶良の精神のありようについて、景戒との比較の中で論じていく。
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『ヒロシマ・ノート』とナショナリズム

六〇年代と大江健三郎の問題

團野光晴

昭和文学研究
1999年 39 巻 41-52
発行日: 1999/09/01
公開日: 2023/05/15

DOI https://doi.org/10.50863/showabungaku.39.0_41

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真の「仮面ライダー」とは何か

――藤岡弘、対庵野秀明――

横山孝一

群馬高専レビュー
2023年 42 巻 29-48
発行日: 2023年
公開日: 2024/04/03

DOI https://doi.org/10.51030/krev.42.0_29

研究報告書・技術報告書オープンアクセス

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On March 17, 2023, the long-awaited Shin Kamen Rider or Shin Masked Rider, directed by Hideaki ANNO (1960-), Japan's leading animator and filmmaker, was finally released. As a big fan of Kamen Rider as well as ANNO's legendary Evangelion series, I went to see the movie, only to find it disappointing. Contrary to my ideal Kamen Rider image, ANNO's new / true (which are the meanings of the Japanese word shin) Masked Rider turned out to be so feeble, just as the manly character of Susumu KODAI was changed into such a tearful weakling by Harutoshi FUKUI in the 21st century reboot version of Space Battleship Yamato. Their good intentions are clear: reviewing Japan's militarism during WWII, both ANNO and FUKUI tried re-creating the famous characters, eliminating the belligerent elements they firmly believed to be bad. Although their attitudes might be politically correct, the results would be boring with anticlimaxes, while the cinema audience really wanted to see the heroes' brave fights with great determination. Shotaro ISHINOMORI (1938-98), the late manga artist who designed the superhero, would have supported ANNO's Shin Kamen Rider, because he was possessed by the same pacific belief as a typical Japanese postwar democrat. Just like ANNO, I (1966-) was fortunate enough to enjoy the first Kamen Rider series, from the very first episode aired on April 3, 1971 to the last of Kamen Rider V3, which ended on February 9, 1974, when the true identity of Shocker and Deathtron's boss proved to be Satan himself. Which means Hideaki ANNO turned the Devil into a human being named Ichiro MIDORIKAWA, who only hoped to make the world a better place. Therefore it is natural that the fighting against SHOCKER tends to be not only anticlimactic but also melancholic in ANNO's new Rider film. The original TV series was written not by Shotaro ISHINOMORI, but mainly by Masaru IGAMI (1931-91), who was good at samurai dramas. It was IGAMI that created the strict father figure of Tobei TACHIBANA wonderfully played by Akiji KOBAYASHI (1930-96) and that wrote about the unforgettable Kamen Rider Kid Corps, which ANNO completely ignored. The true Masked Rider was played by Hiroshi FUJIOKA (1946-), one of the most masculine living Japanese actors, who continued to act Takeshi HONGO in Toei's 2021 authentic Rider movie at the age of 75. As he has discovered and embodied it in his career, I must say the very essence of Kamen Rider is the soul of a samurai.
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「コミックス」という出版メディアの生成 : 1960-70年代における新書判マンガ単行本出版を事例に

山森宙史

マス・コミュニケーション研究
2013年 82 巻 153-172
発行日: 2013/01/31
公開日: 2017/10/06

DOI https://doi.org/10.24460/mscom.82.0_153

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This study aims to reexamine the historical perceptions of the Japanese comic book medium, particularly the "magazine culture" which began in the late I960s, by tracing the historical process of creating "Shinshoban comics" during the 1960s and 1970s. Prior historical studies of postwar manga have not fully examined manga comic magazines, and manga has usually been defined as one type of comic magazine, not as its own independent form of media. Accordingly, in this article, I focus on the "Shinshoban comics" that predated present-day manga comics in order to understand the transformations in the comic industry during the late 1960s and early 1970s. Unlike the manga comics of today, due to the lack of modern industry and marketing systems, Shinshoban comics were very marginalized and crossed over various manga publishing borders. However, as series of Shinshoban comics based on particular comic magazines became the dominant publication style of manga comics, they were gradually perceived to be one type of comic magazine in the comic industry. Moreover, in the political and cultural climate of that time, the publication of some Shinshoban comics was delayed while others were screened out. Some of the works filtered out of the major public companies were published by small publishers as well as Kashihon publishers, which published for book-lending shops. As a result, though Shinshoban comics were subsumed by the comic publishing industry as a part of magazine culture, they were also relatively independent and established themselves as an original publishing medium. Therefore, an investigation of the historical process of creating Shinshoban comics clarifies that the industrialization centering around comic magazines produced by the major publishers beginning in the late 1960s contained within it a complexity that gave rise to an "independent" or "derivative" media culture.
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