夜の新宿に文壇が集う 高見順と酒場和 1945年-1965年

戦後の新宿では、酒場が作家や編集者たちの小さな文壇として機能していた。高見順も酒場「和」に姿を見せ、丹羽文雄ら文学者と酒席をともにした。そこでは原稿や作品だけでなく、雑談や議論、噂話までが作家同士を結び付け、文学が生まれる前の言葉が行き交っていた。高見順は1907年生まれで、戦前から小説や評論を発表し、戦後も文壇の中心人物として活動した。遠来の客を新宿の酒場へ案内し、日本ペンクラブ関係者や文化人と交流した記録も残る。1965年に高見が死去した後も、新宿の酒場文化は続き、作家、編集者、劇団員などが夜ごと集う独特の交流空間となった。新宿の酒場は、出版物には残らない会話や人間関係を通じて、戦後文学を支えたもう一つの文化的舞台だった。

The Literary World Gathers in Shinjuku at Night: Jun Takami and the Bar “Wa,” 1945–1965

In postwar Shinjuku, bars served as small literary circles for writers and editors. Jun Takami also frequented the bar “Wa,” where he shared drinks with literary figures such as Fumio Niwa. There, it was not only manuscripts and works but also casual conversation, debates, and even gossip that bound the writers together, as words exchanged before they took shape as literature. Born in 1907, Jun Takami had been publishing novels and critical essays since before the war and remained a central figure in the literary world after the war. Records also show that he would guide visitors from afar to Shinjuku’s bars, where he interacted with members of the Japanese PEN Club and other cultural figures. Even after Takami’s death in 1965, Shinjuku’s bar culture persisted, becoming a unique space for interaction where writers, editors, and theater troupe members gathered night after night. Through conversations and personal relationships that were never recorded in print, Shinjuku’s bars served as another cultural stage that supported postwar literature.

Laughing Off the Storm of Debt: The Battle Is Over, the Sun Has Set, 1967–1969

In 1967, a business venture led by Aiko Sato’s husband, the writer Mugihiko Tabata, failed, leaving them with a massive debt. Sato was overwhelmed by dealing with creditors and making repayments, and she wrote *When the Battle Is Over and the Sun Sets* based on that harrowing experience. According to Kodansha, the work depicts, with a blend of humor and pathos, a timid husband and a wife burdened with enormous debt as they struggle relentlessly without a moment’s rest. The book was published in 1969 and won the 61st Naoki Prize in the first half of that year. The Japan Literature Promotion Association’s award records list Aiko Sato, *The Day Ends After the Battle*, and Kodansha as the recipients. It is also listed as a representative work in materials covering Sato’s career and served as a crucial starting point for her writing style—which transforms adversity into anger and laughter—as seen in her later works, *Bloodline* and *Ninety Years Old: What’s There to Celebrate?*. In her real life, she faced the bankruptcy of her husband’s company, divorce, and the burden of repaying debts, but Sato did not confine these experiences to mere tragedy. She placed the human condition—including its weaknesses and self-centeredness—within the context of humor, transforming adversity itself into literature. While the title evokes a sense of exhaustion and stillness after the battle has ended, behind it lies the tenacity of a woman striving to rebuild her life.

灰の跡地に光を並べる 八戸太陽光発電所 2010年-2025年

東北電力は2010年、青森県八戸市の八戸火力発電所構内で太陽光発電所の建設を始め、2011年12月20日に営業運転を開始した。出力は1500キロワットで、同社初のメガソーラー発電所だった。建設地には火力発電所の灰埋立て跡地を再利用し、多結晶シリコン、薄膜系シリコン、薄膜系化合物の3種類の太陽電池モジュールを設置した。東北地方の寒冷、積雪などの条件下で発電特性を比較し、運用ノウハウを蓄積する役割も担った。年間発電量は約160万キロワット時で、当時は一般家庭約500世帯分の年間使用量に相当するとされた。その後も発電所は実証の場として活用され、太陽電池パネルの不具合を屋外で検出する技術の検証にも使われた。火力発電の灰を埋めた土地が、再生可能エネルギーと保守技術の実験場へ変わった点に、この施設の 象徴性がある。

土の記憶を歩く 北平遺跡とセブリバ 縄文時代-2005年

朝田翁がセブリバと指した地点の周辺にある北平遺跡は、伝承を考古学的に確かめる手掛かりとして扱われている。狭いテラス状の土地からは、縄文期の剥片鏃や土器片、弥生後期の土器、さらに奈良、平安、室町期の陶器類まで表面採集され、人の営みが長期間続いた場所だったことが示される。図には石器、土器、須恵器、陶器が並び、著者は過去の踏査で採集した遺物も含めて検討している。一方、朝田翁が示したセブリバ地点そのものは農地化され、発掘調査は行われていないため、北平遺跡の遺物がそのままサンカの生活を証明するわけではない。聞き取りと現地踏査を結び付け、漂泊生活の痕跡を慎重に検証しようとしている。 なお、ウェブ上には岡山県久米郡美咲町の同名の北平遺跡が登録されているが、こちらは弥生中期の散布地とされており、本文中の北平遺跡と同一地点であることは確認できない。名称だけで結び付けない方が安全である。

The Vanished Drums of Poison: The Road to the Basel Convention, 1976–1992

In 1976, an accident occurred at the ICMESA chemical plant in Seveso, northern Italy, resulting in the release of the highly toxic dioxin TCDD into the surrounding area. The evacuation of residents, mass animal deaths, and cleanup efforts in the contaminated areas continued, etching the horror of chemical accidents into the collective consciousness of European society. According to WHO documents, health effects such as chloracne were confirmed following the accident. Another major issue was the fate of the contaminated soil. The published materials describe how drums filled with contaminated soil went missing in 1982 while being transported abroad; they were discovered in France the following year and incinerated in Basel, Switzerland, in 1985. The article positions this incident involving the removal of contaminated soil from Szébesz as a key catalyst that spurred regulations on the transboundary movement of hazardous waste. The article also includes an explanation of the Basel Convention. However, the Szébesz incident was not the sole factor behind the establishment of the Basel Convention. According to the Secretariat of the Basel Convention, a major direct factor was the international backlash in the 1980s against the export of hazardous waste from developed countries to regions such as Africa. Negotiations proceeded primarily under the leadership of UNEP, and the treaty was adopted on March 22, 1989, and entered into force on May 5, 1992. The Convention is based on three pillars: the reduction of hazardous waste generation, proper disposal, and the restriction and control of transboundary movements. It should be noted that the EU’s Seveso Directive is a clearer example of a regulatory framework directly resulting from the 1976 Seveso accident itself. Introduced in 1982, it strengthened accident prevention, risk assessment, and emergency response at factories handling hazardous substances. The historical progression from Seveso to Basel was also a process that transformed toxic substances from an issue confined solely to factory premises into one that must be tracked and managed across national borders.

海を越えた革命の残光 重信房子と日本赤軍 1971年-2022年

全共闘運動が退潮へ向かう1971年、重信房子はレバノンへ渡り、パレスチナ解放人民戦線と接触して赤軍派アラブ支部を組織した。1972年には岡本公三ら3人がテルアビブのロッド空港を襲撃し、多数の死傷者を出した。その後、組織は日本赤軍を名乗り、ハーグ事件やクアラルンプール事件など国外で武装闘争を展開した。警察庁によれば、重信は2000年に大阪府内で逮捕され、2001年に獄中から日本赤軍の解散を宣言した。 重信はハーグ事件への関与などで懲役20年の刑が確定し、2022年5月に服役を終えて出所した。添付資料が回顧する全共闘世代の歴史は、大学闘争の挫折後、一部の活動家が国内運動から海外の武装闘争へ向かった分岐も含んでいる。理想を掲げた政治運動が国境を越え、暴力と多数の犠牲を伴う組織へ変化していった過程は、1960年代末から続く運動の行方を考えるうえで重い歴史的問題を残している。

Bringing Light to a Site Once Covered in Ash: Hachinohe Solar Power Plant, 2010–2025

In 2010, Tohoku Electric Power began construction of a solar power plant on the grounds of the Hachinohe Thermal Power Plant in Hachinohe City, Aomori Prefecture, and began commercial operation on December 20, 2011. With a capacity of 1,500 kilowatts, it was the company’s first megasolar power plant. The site was developed by repurposing a former ash landfill from the thermal power plant, and three types of solar modules—polycrystalline silicon, thin-film silicon, and thin-film compound—were installed. The facility also served to compare power generation characteristics under the cold and snowy conditions of the Tohoku region and to accumulate operational know-how. Annual power generation amounted to approximately 1.6 million kilowatt-hours, which at the time was estimated to be equivalent to the annual electricity consumption of about 500 households. The plant continued to be used as a demonstration site thereafter and was also employed to verify technology for detecting defec ts in solar panels outdoors. The symbolic significance of this facility lies in the fact that land once used as a landfill for ash from a thermal power plant was transformed into a testing ground for renewable energy and maintenance technology.

都会へ消えた恋の手紙 太田裕美 木綿のハンカチーフ 1975年-1976年

太田裕美の木綿のハンカチーフは、作詞松本隆、作曲筒美京平による代表作である。1975年12月5日発売のアルバム「心が風邪をひいた日」に収録され、評判の高さから録音し直され、同年12月21日に4枚目のシングルとして発売された。資料でも、従来の歌謡曲には珍しい長い歌詞と、フォーク的な感覚を持ちながらリズミカルでポップな曲調が、新しい歌謡曲を作り上げたと評価されている。 最大の特徴は、都会へ出た男性と故郷に残った女性の会話を、太田裕美が一人二役で歌う構成にある。1番から4番まで、男性と女性の言葉が交互に現れ、まるで往復書簡を読んでいるように物語が進む。松本隆は、都会と地方、物質的な豊かさと変わらない心を対照させ、離れていく2人の距離を説明ではなく会話によって描いた。この形式は当時として非常に斬新だった。 筒美京平は、先に完成していた長い詞を受け取り、当初は曲を付けるのが難しいと感じたという。しかし、結果としてフォークの素朴さと歌謡曲の華やかさを併せ持つ旋律を生み出した。太田裕美自身も、この曲は筒美作品の中でも冒険的だったのではないかと振り返っている。もともとアルバム曲だったため、ヒットを強く意識せず、通常とは異なる作り方に挑戦できたことも作品の独自性につながった。 物語の中心にあるのは、都会の暮らしの中で変わっていく男性と、故郷で変わらぬ愛を信じる女性のすれ違いである。高価な贈り物ではなく、最後に女性が求める木綿のハンカチーフが、失われた素朴な愛情の象徴となる。都会と地方、夢と現実、成長と喪失という1970年代の若者が抱えた感情を、小さな恋の物語に凝縮したところに、この曲の文学的な強さがある。資料でも、映画を見るように情景が浮かび、男女双方の視点と都会、地方の対比が巧みに組み立てられていると評されている。 木綿のハンカチーフは、太田裕美の最大級の代表曲となった一方、その成功の大きさは本人に長く葛藤も与えた。後続曲を発表しても木綿を超えることを求められ、本人は新しい世界へ進みたいと思い続けたという。しかし、長い時間を経て、世代を越えて歌い継がれる作品の力を受け入れるようになった。都会へ向かった青年と故郷に残った少女の別れを描いたこの歌は、個人的な恋愛を越え、時代そのものの記憶を包み込む物語となった。

湖に沈んだ緑の恋 ザ・テンプターズ エメラルドの伝説 1967年-1968年

ザ・テンプターズは1967年にデビューし、1968年にグループサウンズを代表する人気バンドへ成長した。エメラルドの伝説は1968年6月15日に発売された3枚目のシングルで、作詞はなかにし礼、作曲は村井邦彦、編曲は川口真。それまで中心メンバーの松崎由治が担っていた曲作りに、初めて本格的な外部作家を迎えた転機の作品だった。 村井邦彦はクラシック音楽を思わせる気品ある旋律と、力強いロックサウンドを融合させた。資料ではフォーレのパヴァーヌをモチーフの一つとし、クラシカルな和声感覚を取り込んだとされる。なかにし礼は、湖、緑の瞳、エメラルドといった色彩的な言葉によって、失われた恋人を追い求める幻想的な物語を描いた。 そこに重なるのが萩原健一の歌声である。甘さだけでなく、危うさや荒々しさを含んだ歌唱が、恋と死が交錯する物語に独特の緊張感を与えた。青春の恋を明るく歌う作品が多かったグループサウンズの中で、エメラルドの伝説は、耽美的で哀愁を帯びた文学的世界を作り上げ、ザ・テンプターズの音楽性を大きく広げた代表作となった。

花咲く野辺から届いた恋 ザ・タイガース「花の首飾り」 1967年-1968年

ザ・タイガースは、前身のザ・ファニーズから改名し、1967年に「僕のマリー」でデビューした。名付け親でもあった作曲家すぎやまこういちは、彼らのシングルを「静、動、静、動」と展開する大きな交響組曲のように構想していた。5曲目には「銀河のロマンス」を用意し、そのB面候補として生まれたのが「花の首飾り」である。 きっかけは、1967年末に雑誌「明星」が実施した、タイガースに歌ってほしい詞を募る懸賞だった。全国から13万通を超える応募が集まり、北海道の高校生、菅原房子の作品が入選した。原案は通常の歌詞というより、花を摘む娘たちが白鳥になるという神秘的な物語で、チャイコフスキーの「白鳥の湖」をモチーフにしていたという。補作詞を担当したなかにし礼が、その西欧的で幻想的な世界を生かしながら歌詞へまとめた。 作詞は菅原房子、補作詞はなかにし礼、作曲はすぎやまこういち。すぎやまは歌詞の冒頭を読んだ瞬間に旋律を思いつき、数分で曲を書き上げたとされる。通常より高いキーだったため、沢田研二ではなく加橋かつみがリードボーカルを担当した。当初はB面用だったが、完成度の高さから「銀河のロマンス」と両A面で発売され、リクエストでは「花の首飾り」が圧倒的な人気を集めた。売上は67万枚を超え、ザ・タイガース最大のヒット曲となった。 ひな菊、野辺、花の首飾りという柔らかな自然のイメージに、恋する相手への憧れが重なる。単なる青春歌謡ではなく、少女が白鳥へ変わる物語を源流に持つことで、どこか遠いヨーロッパの伝説を思わせる幻想性を帯びた。1968年のグループサウンズ全盛期に、華やかなアイドル性と文学的な物語世界を結び付けた作品であり、「花の首飾り」はザ・タイガースのロマンチックな魅力を象徴する1曲となった。

記憶が美しさに変わるまで 八神純子 思い出は美しすぎて 1974年-1978年

八神純子は、幼い頃からピアノと歌に親しみ、高校時代にはヤマハのボーカルコースに通った。1974年、生まれて初めて作った曲「雨の日のひとりごと」でポピュラーソングコンテストに挑戦し、優秀曲賞を受賞。世界歌謡祭にも出場した。しかし、父親は歌手になることに反対し、学校からも音楽活動を控えるよう求められた。それでも八神は創作を続け、高校卒業後もプロへの道を諦めなかった。 父親を粘り強く説得し、1978年1月5日、20歳の時に「思い出は美しすぎて」で本格的なプロデビューを果たした。この曲は、デビューを待つ間に書きためていた作品の一つで、ゆったりした旋律の背後にボサノバ風のリズムが流れる。題名が示すように、過ぎ去った恋や時間を美しい記憶として振り返る、若い八神ならではの透明感と哀愁を備えた作品だった。公式プロフィールでも、この曲を1978年のプロデビュー作として位置づけ、同名アルバムはオリコン最高5位を記録したとしている。 さらに印象的なのが間奏の笛である。本来はサンバホイッスルを使う予定だったが、録音時に用意できず、実際には体育の授業などで使う普通の笛を使用したと八神本人が後年明かしている。その後、本物のサンバホイッスルを入手し、首から下げて演奏する姿が八神純子の象徴となった。「思い出は美しすぎて」は、一人の少女が反対や制約を越え、自作の歌で自らの人生を切り開いた瞬間を刻んだ作品でもある。

A Green Love Submerged in the Lake: The Tempters, “The Legend of the Emerald,” 1967–1968

The Tempters debuted in 1967 and grew into one of the most popular bands representing the Group Sounds movement by 1968. “The Legend of the Emerald” was their third single, released on June 15, 1968. The lyrics were written by Rei Nakashishi, the music composed by Kunihiko Murai, and the arrangement by Makoto Kawaguchi. This marked a turning point for the group, as it was the first time they brought in a professional outside songwriter to handle the songwriting—a role that had previously been handled by core member Yuji Matsuzaki. Kunihiko Murai fused elegant melodies reminiscent of classical music with a powerful rock sound. According to records, the song drew inspiration from Fauré’s “Pavane,” incorporating a classical sense of harmony. Rei Nakanishi depicted a fantastical story of pursuing a lost lover through evocative imagery such as a lake, green eyes, and emeralds. Overlaid on this is Kenichi Hagiwara’s vocals. His singing—which contained not only sweetness but also a sense of precariousness and rawness—imbued the story, where love and death intertwine, with a unique sense of tension. Amid the many Group Sounds acts that sang cheerfully about youthful romance, “The Legend of the Emerald” created a decadent and melancholic literary world, becoming a representative masterpiece that greatly expanded The Tempters’ musical horizons.

Love from a Flowering Meadow: The Tigers’ “Flower Necklace” 1967–1968

The Tigers changed their name from their predecessor group, The Funnies, and made their debut in 1967 with “My Marie.” Composer Koichi Sugiyama, who had also helped name the group, envisioned their singles as a grand symphonic suite unfolding in a “quiet, dynamic, quiet, dynamic” pattern. He prepared “Romance of the Galaxy” as the fifth track, and “Flower Necklace” was created as a candidate for its B-side. It all began with a contest held by the magazine *Myōjō* in late 1967, which invited the public to submit lyrics they wanted The Tigers to sing. Over 130,000 entries were received from across the country, and the winning entry was a piece by Fusako Sugawara, a high school student from Hokkaido. The original draft was less a conventional set of lyrics and more a mystical story in which girls picking flowers transform into swans, reportedly inspired by Tchaikovsky’s “Swan Lake.” Rei Nakanishi, who was tasked with supplementing the lyrics, crafted the final lyrics while preserving that Western-style, fantastical world. Lyrics by Fusako Sugawara, supplementary lyrics by Rei Nakagishi, and music by Koichi Sugiyama. It is said that Sugiyama came up with the melody the moment he read the opening lines of the lyrics and composed the song in just a few minutes. Because the key was higher than usual, Katsumi Kahashi took the lead vocals instead of Kenji Sawada. Although originally intended for the B-side, the song’s high quality led to its release as a double A-side with “Galaxy Romance,” and “Flower Necklace” garnered overwhelming popularity in radio requests. Sales exceeded 670,000 copies, making it The Tigers’ biggest hit. The gentle, natural imagery of “Hina-giku,” “Nobe,” and “Flower Necklace” is overlaid with a longing for a romantic partner. More than just a typical youth pop song, it draws its origins from the tale of a girl transforming into a swan, giving it a fantastical quality reminiscent of a distant European legend. Released in 1968, at the height of the Group Sounds era, the song successfully blended glamorous idol appeal with a literary narrative world, and “Flower Necklace” became a track that symbolized The Tigers’ romantic charm.

"Love Letters Lost in the City" by Yumi Ota, "Cotton Handkerchief," 1975–1976

Yumi Ota’s “Cotton Handkerchief” is a representative work with lyrics by Takashi Matsumoto and music by Kyohei Tsutsumi. It was included on the album *The Day My Heart Caught a Cold*, released on December 5, 1975, and due to its high acclaim, it was re-recorded and released as her fourth single on December 21 of the same year. Critics have noted that the song’s unusually long lyrics—uncommon for traditional kayōkyoku—combined with a rhythmic, pop-infused melody that retains a folk-like sensibility, helped pioneer a new style of kayōkyoku. Its most distinctive feature is the structure in which Yumi Ota sings both parts of a conversation between a man who has moved to the city and a woman who remained in their hometown. From the first verse to the fourth, the words of the man and woman alternate, and the story unfolds as if one were reading a series of letters back and forth. Takashi Matsumoto contrasted the city and the countryside, as well as material wealth and an unchanging heart, depicting the growing distance between the two not through exposition but through dialogue. This format was extremely innovative for its time. Kyohei Tsutsumi reportedly received the lengthy lyrics, which had already been completed, and initially found it difficult to set them to music. However, he ultimately created a melody that combines the simplicity of folk music with the glamour of kayōkyoku. Yumi Ota herself has reflected that this song may have been one of Tsutsumi’s more adventurous works. Since it was originally intended for an album, she wasn’t overly concerned with making a hit, and this allowed her to experiment with a different creative process than usual—a factor that contributed to the song’s uniqueness. At the heart of the story lies the growing distance between a man who is changing as a result of city life and a woman who believes in unwavering love back in her hometown. It is not an expensive gift, but rather the cotton handkerchief the woman asks for in the end that becomes a symbol of lost, simple love. The song’s literary strength lies in how it condenses the emotions felt by young people in the 1970s—the tension between city and countryside, dreams and reality, growth and loss—into a small love story. Reviews note that the lyrics paint vivid scenes, much like watching a movie, and skillfully weave together the perspectives of both the man and the woman alongside the contrast between city and countryside. While “Cotton Handkerchief” became one of Yumi Ota’s most iconic songs, the sheer magnitude of its success also caused her inner conflict for a long time. Even when she released follow-up songs, she was expected to surpass the success of “Cotton Handkerchief,” and she reportedly continued to yearn to move on to new horizons. However, over time, she came to accept the power of a work that continues to be sung across generations. This song, which depicts the parting of a young man who left for the city and a young woman who remained in her hometown, transcended personal romance to become a story that encapsulates the memory of an entire era.

銀幕に咲いた知性の華 叶順子 知的なグラマー女優 1957年から1963年

叶順子は1936年1月21日、東京市中野区野方に生まれました。本名は吉田順子、旧姓は中沢です。資料では、美貌を見込まれて映画界に入り、知的なグラマー女優として人気を得た存在として紹介されています。 1950年代後半から大映作品に出演し、都会的で洗練された容姿と落ち着いた雰囲気を生かして、現代劇を中心に活躍しました。KINENOTEでも、1959年から1963年にかけて継続的に取り上げられたスターであることが確認できます。 出演作には黒い樹海、女は夜化粧する、投資令嬢、黒の試走車、黒蜥蜴、黒の報告書などがあり、1963年まで多数の映画に出演しました。 叶順子の魅力は、単なる華やかさだけでなく、知性と大人びた気品を感じさせるスター像にありました。高度成長期の都市文化が広がる時代に、洋装やモダンな生活感覚をまとった女性像を体現し、大映の女優陣の中でも独特の位置を占めた人物です。

雪のホームから遠い町へ 山口百恵 いい日旅立ち 1978年から1980年

山口百恵のいい日旅立ちは、1978年11月21日に発売された代表曲の一つです。資料でも、1970年代後半を象徴するヒット曲として位置付けられています。 この曲は、国鉄の旅行誘致キャンペーンに合わせて制作され、谷村新司が作詞と作曲を担当しました。列車で遠い土地へ向かう旅情と、過ぎ去った時間への郷愁が重なり、単なる観光宣伝の曲を超えて、多くの人の記憶に残る歌になりました。発売後はオリコン最高3位を記録し、23週にわたってチャートに登場しています。 当時の山口百恵は、プレイバックPart2などを経て、少女歌手から大人の女性歌手へと移りつつある時期でした。いい日旅立ちでは、派手さを抑えた歌唱によって、別れと出発、孤独と希望が同時に感じられる世界を表現しています。国鉄のキャンペーンそのものも長期間続き、この曲は鉄道旅行のイメージと深く結び付きました。後年にはJR西日本のキャンペーンでも曲が受け継がれ、昭和歌謡を代表する懐メロとして現在まで親しまれています。

From the Snow-Covered Platform to a Faraway Town: Momoe Yamaguchi, “A Good Day to Set Out,” 1978–1980

Momoe Yamaguchi’s “A Good Day to Set Out” is one of her signature songs, released on November 21, 1978. It is widely recognized in historical records as a hit song that symbolizes the late 1970s. The song was produced in conjunction with a Japan National Railways (JNR) tourism campaign, with Shinji Tanimura writing both the lyrics and the music. The romantic atmosphere of traveling by train to distant lands intertwines with nostalgia for times gone by, elevating the song beyond a mere tourism promotional track to become a melody etched in the memories of many. After its release, it peaked at No. 3 on the Oricon charts and remained on the charts for 23 weeks. At the time, Momoe Yamaguchi was in the midst of transitioning from a teenage singer to a mature female artist, following releases such as “Playback Part 2.” In “Ii Hi Tabidachi,” her understated vocal delivery evokes a world where farewells and departures, loneliness and hope are felt simultaneously. The JNR campaign itself ran for an extended period, and the song became deeply associated with the image of rail travel. In later years, the song was revived for a JR West campaign and remains beloved to this day as a classic hit representative of Showa-era pop music.

Companies Floating in a Sea of Secrecy: The Panama Papers and Mossack Fonseca, 1977–2016

The Panama Papers is a global investigative journalism project based on more than 11.5 million internal documents spanning approximately 40 years that were leaked from the Panamanian law firm Mossack Fonseca. The documents—which include emails, contracts, and company incorporation records—revealed connections between approximately 214,000 offshore entities established in 21 jurisdictions and individuals in over 200 countries and regions. Mossack Fonseca operated on a global scale, setting up companies and trusts that obscured the identities of their actual owners through the use of tax havens and other means. While such arrangements are not inherently illegal, they carry the risk of being exploited for asset concealment, tax evasion, money laundering, and corruption. In 2016, the International Consortium of Investigative Journalists and others analyzed documents obtained by the Süddeutsche Zeitung and reported on the overseas assets linked to politicians, wealthy individuals, and celebrities from various countries. The Panama Papers brought to light the mechanisms through which global funds flow via secret companies, serving as a major catalyst for reexamining financial transparency.

The Shadows of Those Who Did Not Change Their Beliefs: Takaaki Yoshimoto and the Issue of Non-Conversion, 1930s–1958

Takaaki Yoshimoto approached the topics of conversion and non-conversion—which had been discussed from the prewar period through the postwar era—by separating them from the simplistic moral narrative of those who upheld their convictions versus those who betrayed them. Even in his writings, the issue of non-conversion is discussed in connection with prewar literary movements and the intellectual climate of the time, and he presents a critical perspective suggesting that the mere fact of refusing to change one’s beliefs does not guarantee the correctness of those beliefs. In his 1958 essay on ideological conversion, Yoshimoto did not explain conversion solely as a capitulation to power; rather, he viewed it as a shift in the thinking of intellectuals who had failed to grasp the structure of modern Japanese society as a whole. Of particular importance is the issue of isolation from the masses. Not only those who defected, but also intellectuals who remained steadfast in their refusal to defect, risked shutting themselves away within their ideals rather than confronting the reality of mass society. Yoshimoto saw in this the paradox that refusal to defect itself could become a different form of defection. His 1958 essay on defection challenged the self-justification of postwar intellectuals and argued that ideology is not about holding fast to one’s beliefs, but rather the constant process of examining one’s relationship with reality.

焼け跡に響いた赤いリンゴ 1945年から1946年 「リンゴの唄」の社会的な広がり

「リンゴの唄」は、敗戦直後の1945年10月11日に公開された松竹映画「そよかぜ」の挿入歌として世に出ました。作詞はサトウハチロー、作曲は万城目正、歌唱は並木路子です。資料では、この歌が映画やラジオなど複数の媒体を通して広がり、単なる映画挿入歌を超えて大衆の記憶へ浸透していく過程が扱われています。 敗戦直後の日本では、空襲によって多くの都市が焼け、物資不足や食糧難が続いていました。レコードを大量に生産し、全国へ流通させる環境も十分ではありませんでした。そのため、「リンゴの唄」の流行はレコード販売だけによって生まれたものではありません。映画館で作品を見た人々が歌を知り、ラジオ放送を通してさらに多くの人へ伝わり、やがて家庭や職場、街角でも口ずさまれるようになりました。 この歌が人々の心を捉えた背景には、明るい旋律と、赤いリンゴという鮮やかなイメージがありました。敗戦によって社会全体が深い喪失感に包まれていた時期に、その軽やかさは、新しい生活へ向かおうとする気分と重なりました。「リンゴの唄」は、恋や青春を歌う流行歌であると同時に、焼け跡の中から日常を取り戻そうとする人々の感情を象徴する歌になっていきます。 さらに、1946年にラジオの「のど自慢」が人気を集めるなど、一般の人々が歌謡曲を自ら歌う文化も広がりました。歌は歌手が聴かせるものから、人々が共有し、自分たちで歌うものへと変化します。「リンゴの唄」が長く記憶されたのは、映画、ラジオ、レコード、そして人々自身の歌声が重なり合い、戦後という新しい時代の始まりを共有する象徴となったからです。

A Blossom of Intelligence on the Silver Screen: Junko Kano—The Intellectual Glamour Actress, 1957–1963

Junko Kano was born on January 21, 1936, in Nogata, Nakano Ward, Tokyo. Her real name was Junko Yoshida, and her maiden name was Nakazawa. Archival records describe her as having entered the film industry due to her striking beauty and gaining popularity as an intelligent, glamorous actress. From the late 1950s, she appeared in Daiei films, leveraging her cosmopolitan, sophisticated appearance and composed demeanor to shine primarily in contemporary dramas. KINENOTE also confirms that she was a star who was featured consistently from 1959 to 1963. Her filmography includes *The Black Forest*, *Women Put on Makeup at Night*, *The Investor’s Daughter*, *The Black Test Car*, *The Black Lizard*, and *The Black Report*, and she appeared in numerous films until 1963. Junko Kano’s appeal lay not merely in her glamour, but in a star image that exuded intelligence and a mature elegance. During the era of rapid economic growth, when urban culture was spreading, she embodied the image of a woman dressed in Western-style clothing and embracing a modern lifestyle, occupying a unique position even among Daiei’s roster of actresses.

An Eternal Smile on the Silver Screen: Setsuko Hara—A Symbol of Japanese Cinema, 1935–1963

Born in 1920, Setsuko Hara entered the film industry in 1935 and became one of the leading actresses of Japanese cinema from the prewar to the postwar era. After the war, she appeared in a wide range of films, including Akira Kurosawa’s *I Have No Regrets for My Youth* and Mikio Naruse’s *Rice* and *The Sound of the Mountain*, but it was her work with Yasujirō Ozu in particular that established her unique presence. In *Late Spring*, *Early Summer*, and *Tokyo Story*, she portrayed women torn between their feelings for their families and societal views on marriage, using restrained expressions and a bright smile. The BFI highlights that Hara embodied both a modern, independent image of womanhood and traditional modesty. In the 1953 film *Tokyo Story*, she played Kiriko, a woman who had lost her husband in the war, quietly reflecting the loneliness of a changing family and postwar society. Her sudden departure from the film industry in 1963 at the age of 43—and the fact that she rarely appeared in public thereafter—also made Setsuko Hara an iconic figure in the history of Japanese cinema.

裁判の火をくぐり文壇を駆けた伊藤整 1905年から1969年

伊藤整は1905年北海道に生まれ、小樽高等商業学校を経て文学へ進みました。1926年には詩集「雪明りの路」を自費出版し、その後は小説、評論、翻訳へ活動を広げます。戦後には「鳴海仙吉」「火の鳥」などを発表し、批評家、小説家として文壇の中心的存在となりました。資料でも、裁判の渦中にありながら流行作家へ転身していく姿が紹介されています。 その転機となったのが、1950年に刊行したD・H・ローレンス「チャタレイ夫人の恋人」の完訳です。性描写が刑法175条の猥褻文書に当たるとして、出版社社長の小山久二郎とともに起訴されました。一審を経て二審では伊藤にも罰金刑が科され、1957年に最高裁で有罪が確定しました。裁判は単なる出版事件ではなく、文学的価値と猥褻性、憲法上の表現の自由をめぐる大きな論争となりました。 しかし伊藤は裁判だけの作家ではありません。その後も創作を続け、大作「日本文壇史」に取り組み、近代日本文学そのものを歴史的に描こうとしました。翻訳、創作、評論、文学史を横断し、裁判という社会的事件さえ作家活動の一部として引き受けながら、戦後文学を代表する存在へ成長していった人物といえます。

The Red Apple That Echoed Through the Ruins: 1945–1946—The Social Impact of “The Apple Song”

“The Apple Song” first appeared as a theme song in the Shochiku film *Soyokaze* (Gentle Breeze), released on October 11, 1945, immediately following Japan’s defeat in World War II. The lyrics were written by Hachiro Sato, the music was composed by Tadashi Manjome, and the song was performed by Michiko Namiki. The source material details how this song spread through multiple media, including film and radio, and how it transcended its role as a mere film insert song to become deeply ingrained in the public consciousness. In Japan immediately following the war, many cities had been reduced to ashes by air raids, and shortages of supplies and food persisted. The infrastructure for mass-producing records and distributing them nationwide was also insufficient. Consequently, the popularity of “The Apple Song” did not stem solely from record sales. People who saw the film in theaters became familiar with the song; it reached an even wider audience through radio broadcasts; and eventually, people began humming it at home, at work, and on street corners. Behind the song’s ability to capture people’s hearts were its cheerful melody and the vivid image of a red apple. At a time when society as a whole was shrouded in a deep sense of loss following the defeat, the song’s lightheartedness resonated with the spirit of moving toward a new life. “The Apple Song” became not only a popular song about love and youth but also a symbol of the emotions of people striving to reclaim their daily lives from the ruins. Furthermore, with the rise in popularity of radio shows like “Nodo Jiman” in 1946, a culture of ordinary people singing pop songs themselves began to spread. Songs evolved from something singers performed for an audience into something people shared and sang themselves. “The Apple Song” has been remembered for so long because the overlapping elements of film, radio, records, and people’s own voices made it a symbol of the shared beginning of a new postwar era.

隔離の夜に生を問う 北條民雄 1914-1937

北條民雄は1914年に生まれ、20歳でハンセン病を発病し、1934年に療養所へ入院して創作に専念しました。資料では、病気そのものだけでなく、隔離された生活、身体の変化、死への意識が文学と深く結び付いた作家として論じられています。彼にとって書くことは、療養生活を記録するだけではなく、病によって揺らいだ自己をもう一度組み立て、生きる意味を探す行為でもありました。1934年には川端康成に師事し、1936年に代表作「いのちの初夜」を「文学界」に発表して文学界賞を受賞しました。療養所という閉ざされた空間で、身体の苦痛、孤独、他者との関係、生と死を凝視した作品を次々に残します。翌1937年、腸結核により24歳で死去しました。短い生涯でしたが、身体の経験を極限まで文学へ変換した作品群は、病と人間の尊厳� �考える重要な文学として現在も読み継がれています。

Questioning Life on a Night of Isolation: Tamio Hojo, 1914–1937

Tamio Hojo was born in 1914. He developed Hansen’s disease at the age of 20 and was admitted to a sanatorium in 1934, where he devoted himself to writing. The source discusses him as a writer whose literature was deeply intertwined not only with the disease itself but also with his life in isolation, the changes in his body, and his awareness of death. For him, writing was not merely a way to document his life at the sanatorium; it was also an act of reconstructing his self—which had been shaken by the disease—and searching for the meaning of life. In 1934, he studied under Yasunari Kawabata, and in 1936, he published his masterpiece, “The First Night of Life,” in *Bungakukai* magazine, for which he received the Bungakukai Prize. Within the confined space of the sanatorium, he produced a series of works that intently examined physical pain, loneliness, relationships with others, and the nature of life and death. The following year, in 1937, he died of intestinal tuberculosi s at the age of 24. Though his life was short, his body of work—which transformed physical experience into literature to the utmost degree—continues to be read today as an important literary legacy that explores illness and human dignity.

Turning Hokuto’s Sunlight into Electricity: Demonstration and Continuation of Large-Scale Solar Power Generation, 2006–2011

In Hokuto City, Yamanashi Prefecture, demonstration research was conducted to leverage the area’s abundant sunlight and ensure the stable connection of large-scale solar power generation to the power grid. The uploaded materials also introduce the demonstration project for large-scale solar power generation systems in Hokuto City. This project was commissioned by NEDO and carried out from fiscal year 2006 through fiscal year 2010, led primarily by Hokuto City and NTT Facilities. Solar power generation facilities with a capacity of approximately 1.8 megawatts were installed in areas such as the Natsu-Aki district of Nagasaka Town, Hokuto City, to verify technologies for suppressing voltage and output fluctuations when a large number of solar panels are connected to the power grid. In particular, the project focused on developing large-scale power conditioners with grid stabilization functions, comparing the performance of various types of solar cells, and evaluating installation methods and environmental impact. The Hokuto Site was a pioneering facility that verified technical challenges in the field before large-scale solar power generation became widely adopted. The demonstration project concluded in March 2011, and in April of the same year, the facility was transferred to Hokuto City, which has continued to operate it as the Hokuto Site Solar Power Plant.

北杜の光を電力へ 大規模太陽光発電の実証と継承 2006年から2011年

山梨県北杜市では、豊富な日照条件を生かし、大規模太陽光発電を電力系統へ安定して接続するための実証研究が進められました。アップロード資料でも、北杜市における大規模太陽光発電システムの実証事業が紹介されています。 この事業は、NEDOの委託を受け、北杜市とNTTファシリティーズが中心となって2006年度から2010年度まで実施したものです。北杜市長坂町夏秋地区などに約1.8メガワット規模の太陽光発電設備を整備し、多数の太陽電池を電力系統へ接続した際の電圧変動や出力変動を抑える技術を検証しました。特に、系統安定化機能を備えた大型パワーコンディショナーの開発、多種類の太陽電池の性能比較、設置方法や環境性の評価などが行われました。北杜サイトは、大規模太陽光発電が本格普及する以前に、その技術的課題を実地で確かめた先駆的な施設でした。実証研究は2011年3月に終了し、同年4月から施設は北杜市へ譲渡され、北杜サイト太陽光発電所として運用が引き継がれています。

The Fate of Discarded Machines: From 1995 to the Present—A System for Recycling Pachinko Machines

Under the Act on the Promotion of the Effective Utilization of Resources, which took effect in April 2001, pachinko machines were designated as “designated resource-conserving products” and “designated products for which reuse is promoted,” and a target material and parts recycling rate of 55% was set for fiscal year 2005. At that time, pachinko machines were composite products consisting of approximately 30% plastic, 30% iron, 25% wood, 2% non-ferrous metals, and 14% LCDs, circuit boards, and other components by weight. The standard practice was to remove reusable components—such as LCDs, circuit boards, and cables—and then shred the remainder to recover the iron, while using the combustible materials as RDF or cement fuel. At the Pacific Cement Kumagaya Plant, a system had been in operation since 1995 to process gaming machines, yielding approximately 12 kg of solid fuel per machine. It is estimated that in fiscal year 2000, 3.41 million units—approximately 44,000 metric tons—were discarded, and about 1.5 million units were recycled. Furthermore, with an annual secondhand market of approximately 700,000 units, multiple recycling pathways were established, including reuse, parts recycling, and material recovery. In 2002, plans were announced for a new plant in Kitakyushu with an annual processing capacity of 1.5 million units, and efforts began to convert wooden frames into wood chips and then back into new wooden frames. Since then, nationwide collection and processing systems have been established, and used gaming machines are now treated as resources—such as iron, plastic, wood, and electronic components—that are returned to society.

廃台の行方 1995年から現在へ パチンコ台を資源に戻す仕組み

2001年4月施行の資源有効利用促進法で、パチンコ遊技機は指定省資源化製品、指定再利用促進製品となり、2005年度にはマテリアル、パーツリサイクル率55％が目標とされました。 当時のパチンコ台は、重量比でプラスチック約30％、鉄約30％、木材約25％、非鉄金属約2％、液晶や基板など約14％という複合製品でした。再利用できる液晶、基板、コード類を取り外し、残りを破砕して鉄を回収し、可燃物をRDFやセメント燃料として利用する方法が一般的でした。太平洋セメント熊谷工場では、1995年から遊技機を処理し、1台から約12kgの固形燃料を得る仕組みも稼働していました。 2000年度には341万台、約4万4000トンが排出され、約150万台がリサイクル処理されていたと推定されています。さらに年間約70万台の中古市場もあり、再使用、部品再利用、素材回収という複数の循環経路が形成されました。 2002年には北九州で年間150万台の処理能力を見込む新工場が計画され、木枠をチップ化して再び木枠へ戻す試みも始まりました。その後も全国的な回収、処理の仕組みが整備され、使用済み遊技機は鉄、プラスチック、木材、電子部品などを再び社会へ戻す資源として扱われるようになっています。

風の向こうへ走った恋 1972年から1977年 バズ ケンとメリー 愛と風のように

バズの「ケンとメリー 愛と風のように」は、1972年に登場した日産スカイラインの広告キャンペーンと深く結びついた昭和の名曲です。4代目スカイラインは、「ケンとメリーのスカイライン」という広告によって、若い男女が車で旅をする青春の物語として描かれました。CMは1972年から1977年に放映され、曲はバズが歌い、山中弘光が作詞、高橋信之が作曲しています。 広告の中心にあったのは、速さや性能だけではなく、恋人と風景の中を旅するという新しい自動車像でした。北海道などの雄大な自然を背景にした映像と、柔らかなハーモニーを持つこの曲が重なり、スカイラインそのものに青春や自由のイメージを与えました。 それは単なる商品広告を越え、1970年代の若者が夢見た、車と恋と旅の風景を記憶に残しました。「ケンとメリー 愛と風のように」は、昭和のフォークソングであると同時に、広告と音楽が一つの物語を作り上げた時代を象徴する作品でもあります。

Love That Ran Beyond the Wind: 1972–1977, Buzz—"Ken and Mary: Like Love and the Wind"

Buzz’s "Ken and Mary: Like Love and the Wind" is a classic Showa-era song deeply tied to the 1972 Nissan Skyline advertising campaign. The fourth-generation Skyline was portrayed in the “Ken and Mary’s Skyline” ad campaign as a coming-of-age story of young men and women traveling together by car. The commercials aired from 1972 to 1977; the song was performed by Buzz, with lyrics by Hiromitsu Yamanaka and music by Nobuyuki Takahashi. At the heart of the campaign was not just speed and performance, but a new vision of the automobile: traveling through scenic landscapes with a lover. The visuals, set against the backdrop of Hokkaido’s majestic nature, blended with the song’s gentle harmonies, imbuing the Skyline itself with an image of youth and freedom. It transcended a mere product advertisement, etching into people’s memories the scenes of cars, love, and travel that young people of the 1970s dreamed of. “Ken and Mary: Like Love and the Wind” is not only a Showa-era folk song but also a work that symbolizes an era in which advertising and music came together to create a single narrative.

MONSTER 2004年から2005年 闇の底で命の意味を問う旅

天才脳外科医テンマは、ドイツの病院で、瀕死の少年ヨハンの命を救います。しかし、その判断は、市長の手術を優先するよう命じた病院上層部に逆らうものでした。やがてテンマの周囲で不可解な事件が相次ぎ、9年後、彼は自分が救ったヨハンこそ、数々の殺人を操る恐るべき存在であることを知ります。そこから物語は、テンマがヨハンを追いながら、自らの医師としての倫理と向き合う長い旅へと変わっていきます。人の命はすべて等しいのか。救った命が多くの死を生んだとき、医師はどこまで責任を負うべきなのか。作品は単純な善悪の対決ではなく、人間が怪物へと変わる過程や、記憶、孤独、教育、社会の暴力まで掘り下げています。アニメ版は浦沢直樹の漫画を原作とし、マッドハウスが制作。2004年から放送され、全74話� ��いう長編によって、冷戦後のドイツを背景とした重厚な心理サスペンスをじっくり描きました。

MONSTER 2004–2005: A Journey to the Depths of Darkness in Search of the Meaning of Life

Tenma, a genius neurosurgeon, saves the life of Johan, a dying boy, at a German hospital. However, his decision defied the hospital administration, which had ordered him to prioritize surgery for the mayor. Soon, a series of inexplicable incidents begins to occur around Tenma, and nine years later, he learns that Johan, the boy he saved, is in fact a terrifying entity orchestrating a string of murders. From there, the story evolves into a long journey in which Tenma pursues Johan while grappling with his own medical ethics. Are all human lives equal? When a life saved leads to many deaths, to what extent should a doctor bear responsibility? The work is not a simple clash between good and evil; it delves into the process by which humans transform into monsters, as well as memory, loneliness, education, and societal violence. The anime adaptation is based on Naoki Urasawa’s manga and was produced by Madhouse. Broadcast beginning in 2004, the 74-episode series meticulously portrays a profound psychological suspense story set against the backdrop of post-Cold War Germany.

Between the Sea and the Sky: The World as Seen by a Young Girl Named Nadia—A World Evoking the Late 19th and Early 20th Centuries

Nadia: The Secret of Blue Water Set in a world reminiscent of the 19th century, this work depicts the adventures of a boy named Jean and a girl named Nadia. The story unfolds by intertwining machines that symbolize modern science—such as airplanes and submarines—with the mysteries of a lost ancient civilization. Jean is a boy with a keen interest in science and invention, while Nadia harbors secrets about her birth and past. During their journey, the two encounter many allies and enemies and become embroiled in a massive conflict that threatens to shake the world. The appeal of this work lies not only in the excitement of an adventure story. It repeatedly explores the issue that while science and technology enrich human life, they can also lead to destruction if misused. Furthermore, themes such as the development of civilization and nature, human desires and responsibility, and the value of life are woven into the fabric of the story. It is an epic adventure tale that depicts the growth of young boys and girls while posing the question of how science and humanity should coexist.

海と空のあいだで 少女ナディアが見つめた世界 19世紀末から20世紀初頭を思わせる時代

ふしぎの海のナディア 19世紀を思わせる世界を舞台に、少年ジャンと少女ナディアの冒険を描いた作品です。物語は、飛行機や潜水艦など近代科学を象徴する機械と、失われた古代文明の謎を結びつけながら進んでいきます。ジャンは科学や発明に強い関心を持つ少年で、ナディアは自分の出生や過去に秘密を抱えています。2人は旅の中で、多くの仲間や敵と出会い、世界を揺るがす大きな争いへ巻き込まれていきます。作品の魅力は、冒険活劇としての楽しさだけではありません。科学技術は人間を豊かにする一方で、使い方を誤れば破壊にもつながるという問題が繰り返し描かれます。また、文明の発展と自然、人間の欲望と責任、生命の価値といったテーマも物語の奥に置かれています。少年少女の成長を描きながら、科学と人間がどのように共存すべき� �を問いかける、壮大な冒険物語です。

仙台・泉に灯った起業の実験室 1988年-2018年以降

仙台市泉区高森の泉パークタウンに設けられたテクノプラザみやぎは、地域から新しい技術と企業を育てようとする産学官連携の拠点だった。1988年、宮城県を中心とする行政、東北大学などの学術界、民間企業の協力によって第三セクターとして設立され、1990年には21世紀プラザ研究センターが開館した。センターには研究開発型企業向けの貸研究室や小規模オフィスが設けられ、分析機器の利用、大学研究者による技術相談、研究開発支援、講演会、産学官交流などが行われた。単に場所を貸すだけではなく、まだ小さな企業や起業家が研究成果を事業へ育てるための土壌をつくろうとした点に特徴がある。その後、宮城県ではスタートアップ支援や産学連携、環境関連産業の育成が制度化されていった。テクノプラザみやぎは、現在の� ��域イノベーション政策へと続く、仙台における初期の実験場の一つだったと見ることができる。

An Entrepreneurship Laboratory in Sendai’s Izumi District: 1988–2018 and Beyond

Techno Plaza Miyagi, located in Izumi Park Town in Takamori, Izumi Ward, Sendai, served as a hub for industry-academia-government collaboration aimed at fostering new technologies and businesses in the region. Established in 1988 as a third-sector organization through the cooperation of government agencies—primarily in Miyagi Prefecture—the academic community, including Tohoku University, and private companies, the 21st Century Plaza Research Center opened its doors in 1990. The center provided rental laboratories and small offices for research-and-development-oriented companies, and served as a venue for the use of analytical equipment, technical consultations with university researchers, research and development support, lectures, and industry-academia-government exchanges. Its distinctive feature was that it did more than simply rent out space; it sought to create an environment where small companies and entrepreneurs could turn their research results into viable businesses. S ubsequently, Miyagi Prefecture institutionalized support for startups, industry-academia collaboration, and the fostering of environment-related industries. Techno Plaza Miyagi can be viewed as one of the early experimental hubs in Sendai that paved the way for today’s regional innovation policies.

灰色の空から青空へ 大阪市西淀川区 公害の記憶と地域再生 1978年-現在

大阪市西淀川区では、高度経済成長期に工場のばい煙や自動車排ガスによる大気汚染が深刻化し、多くの住民がぜんそくなどの健康被害に苦しんだ。1978年には西淀川大気汚染公害裁判が始まり、長い訴訟を経て、1995年に原告と企業側との和解が成立した。被害者たちは、公害の問題を補償だけで終わらせるのではなく、その経験を地域の再生に生かそうと考えた。 1996年には、公害地域再生センター、通称あおぞら財団が設立された。活動は、公害資料の保存、公害患者の生活史の記録、環境学習、地域調査、公園や自然環境を生かしたまちづくり、国内外との交流などへ広がっていった。さらに、公害の記憶を地域の歴史として残し、次の世代へ伝える取り組みも進められた。 西淀川の歩みは、公害を過去の悲劇として閉じ込めるのではなく、地域をよりよく変えるための知恵へと転換してきた歴史である。かつて灰色の空の下で暮らした人々の経験は、青空を未来へ手渡すための地域再生の力として、現在まで受け継がれている。

From Gray Skies to Blue Skies: Nishiyodogawa Ward, Osaka City—Memories of Pollution and Community Revitalization, 1978–Present

In Nishiyodogawa Ward, Osaka City, air pollution caused by factory smoke and automobile exhaust became severe during the period of rapid economic growth, and many residents suffered health problems such as asthma. In 1978, the Nishiyodogawa Air Pollution Lawsuit began, and after a lengthy legal battle, a settlement was reached between the plaintiffs and the companies in 1995. Rather than letting the issue of pollution end with mere compensation, the victims decided to use their experiences to revitalize the community. In 1996, the Pollution-Affected Area Revitalization Center—commonly known as the Aozora Foundation—was established. Its activities expanded to include preserving pollution-related documents, recording the life histories of pollution victims, environmental education, community surveys, town planning that makes use of parks and the natural environment, and exchanges both domestically and internationally. Furthermore, efforts were made to preserve the memory of the pollution as part of the community’s history and pass it on to future generations. The history of Nishiyodogawa is one of transforming pollution—rather than confining it as a tragedy of the past—into wisdom for improving the community. The experiences of those who once lived under gray skies have been passed down to the present day as a driving force for community revitalization, aimed at handing down blue skies to future generations.

Youth Fades Away with the Sound of Geta: My Dear Friend, 1975

Released in 1975, “My Dear Friend,” sung by Hiroshi Kamayatsu, is a signature song written and composed by Takuro Yoshida. Through the image of a friend—clicking his geta, wearing a school uniform, and looking somewhat old-fashioned—the song portrays a sense of nostalgia for a bygone school days. However, this song is not merely a nostalgic look back at youth. The protagonist—who has started a family and lives his daily life in society—quietly reflects on the path he has taken while picturing the way of life of a friend who remains unchanged from the past. Hiroshi Kamayatsu’s carefree vocals convey the poignancy of friendship and life without becoming too heavy. Amid the nostalgia lies a sense of loneliness for a time that can never return, along with a warm regard for the friendship that remains unchanged. The song reached number one on the Oricon charts and became widely beloved. It is a masterpiece in which the distinct musical sensibilities of folk, kayōkyoku, and rock blend naturally, vividly capturing the spirit of the 1970s.

徳島県の環境自治体政策

徳島県では、ごみの排出抑制と再生利用を柱に、自治体、住民、事業者が連携する資源循環政策が進められている。県は2026年3月に第6期廃棄物処理計画を策定し、2030年度までに一般廃棄物の年間排出量を23万6674トンから19万7000トンへ減らす目標を掲げた。県内では上勝町の取り組みが特に知られ、2003年にゼロ・ウェイスト宣言を行い、焼却や埋立をできるだけ減らすため、細かな分別と再使用、再資源化を進めてきた。2020年にはゼロ・ウェイストセンターが開設され、ごみ処理だけでなく、企業や大学との交流、環境学習の拠点としても活用されている。徳島県の環境政策は、廃棄物を単なる不要物ではなく地域資源として捉え、地域社会全体で循環させようとする点に特徴がある。

Tokushima Prefecture’s Environmental Municipal Policies

In Tokushima Prefecture, a resource circulation policy is being promoted that centers on waste reduction and recycling, with collaboration among municipalities, residents, and businesses. In March 2026, the prefecture formulated its Sixth Waste Management Plan, setting a target to reduce annual municipal solid waste generation from 236,674 metric tons to 197,000 metric tons by fiscal year 2030. Within the prefecture, the initiatives in Kamikatsu Town are particularly well-known. The town issued a Zero Waste Declaration in 2003 and has since promoted detailed waste separation, reuse, and recycling to minimize incineration and landfilling as much as possible. In 2020, the Zero Waste Center was opened; it serves not only as a waste processing facility but also as a hub for collaboration with businesses and universities, as well as for environmental education. Tokushima Prefecture’s environmental policy is characterized by its approach of viewing waste not merely as unwanted material b ut as a local resource, and striving to circulate it throughout the entire local community.

砕かれた船と浴槽がセメントへ帰る FRP廃材再資源化の歩み 2000年代-2026年

FRP、繊維強化プラスチックは、プラスチック樹脂をガラス繊維などで補強した複合材料である。軽量でありながら強度が高く、腐食にも強いため、浴槽、浄化槽、船舶、建築資材、タンク、自動車部品など、さまざまな分野で利用されてきた。しかし、使用時には長所となる丈夫さが、廃棄時には大きな課題となる。金属のように簡単に溶かして再利用することが難しく、樹脂とガラス繊維が強固に結び付いているため、素材ごとの分離も容易ではない。このため、かつては埋立処分や単純焼却に頼る場合が多かった。 こうした問題を背景に、2000年代にはFRP廃材を破砕し、セメント工場で原料や燃料として利用する再資源化の仕組みが注目された。FRPを細かく破砕すると、樹脂部分は熱エネルギーを持つ燃料として利用でき、ガラス繊維などの無機成分はセメントの原料として活用できる可能性がある。つまり、廃材を単に燃やして灰を残すのではなく、燃料と原料の両方として利用する点に特徴がある。 特に課題となったのが、廃船や大型浴槽などの大きなFRP製品である。これらはそのままでは運搬や投入が難しいため、解体、切断、破砕などの前処理が必要となる。破砕時には粉じんが発生するため、作業環境への配慮や設備の安全性も求められる。また、回収場所から処理施設までの輸送費が高くなれば、再資源化そのものの採算性が低下する。そのため、技術だけではなく、回収網や物流、処理施設との連携を含めた仕組みづくりが重要になる。 FRPの再資源化は、複合材料をどのように循環経済へ組み込むかという問題の先駆的な事例でもある。長く使えることを目的に生まれた素材を、使用後には新たな資源として社会へ戻す。捨てにくかった丈夫さを欠点のまま終わらせず、セメント原料や燃料という別の価値へ転換する試みは、大量生産、大量廃棄から資源循環型社会へ移行する過程を象徴している。

Shipwrecks and Bathtubs Return to Cement: The History of FRP Waste Recycling, 2000s–2026

FRP, or fiber-reinforced plastic, is a composite material in which plastic resin is reinforced with glass fibers or similar materials. Because it is lightweight yet highly durable and resistant to corrosion, it has been used in a wide range of fields, including bathtubs, septic tanks, ships, construction materials, tanks, and automotive parts. However, the very durability that is an advantage during use becomes a major challenge when the material is discarded. Unlike metal, it cannot be easily melted down and reused, and because the resin and glass fibers are strongly bonded, separating the different components is also difficult. For this reason, landfilling and simple incineration were often the primary disposal methods in the past. Against this backdrop, in the 2000s, attention turned to a recycling system in which FRP waste is shredded and used as raw material or fuel at cement plants. When FRP is finely crushed, the resin component can be used as a fuel that releases thermal energy, while the inorganic components, such as glass fibers, have the potential to be utilized as raw materials for cement. In other words, the key feature of this approach is that it utilizes the waste material as both fuel and raw material, rather than simply burning it and leaving behind ash. Large FRP products, such as scrapped ships and large bathtubs, posed particular challenges. Since these items are difficult to transport and feed into processing facilities as-is, they require pretreatment such as dismantling, cutting, and crushing. Because dust is generated during the crushing process, consideration for the work environment and equipment safety is also required. Furthermore, if transportation costs from collection sites to processing facilities become too high, the profitability of recycling itself decreases. Therefore, it is crucial to establish a comprehensive system that includes not only the technology but also coordination with collection networks, logistics, and processing facilities. FRP recycling also serves as a pioneering example of how to integrate composite materials into a circular economy. A material created to last a long time is returned to society as a new resource after use. Rather than allowing its durability—which made it difficult to dispose of—to remain a drawback, efforts to convert it into alternative values, such as cement raw materials or fuel, symbolize the transition from a society of mass production and mass disposal to a resource-recycling society.

Shipwrecks and Bathtubs Return to Cement: The History of FRP Waste Recycling, 2000s–2026

FRP, or fiber-reinforced plastic, is a composite material in which plastic resin is reinforced with glass fibers or similar materials. Because it is lightweight yet highly durable and resistant to corrosion, it has been used in a wide range of fields, including bathtubs, septic tanks, ships, construction materials, tanks, and automotive parts. However, the durability that is an advantage during use becomes a major challenge when the material is discarded. Unlike metal, it cannot be easily melted down for reuse, and because the resin and glass fibers are strongly bonded, separating the individual components is also difficult. For this reason, in the past, disposal often relied on landfilling or simple incineration. Against this backdrop, in the 2000s, attention turned to a recycling system in which FRP waste is shredded and used as raw material or fuel at cement plants. When FRP is finely crushed, the resin component can be used as a fuel that releases thermal energy, while the inorganic components, such as glass fibers, can potentially be utilized as raw materials for cement. In other words, the key feature of this approach is that it uses the waste material as both fuel and raw material, rather than simply burning it and leaving behind ash. Large FRP products, such as scrap ships and large bathtubs, presented particular challenges. Since these items are difficult to transport and feed into processing facilities as-is, they require pretreatment such as dismantling, cutting, and crushing. Because dust is generated during the crushing process, consideration for the work environment and equipment safety is also required. Furthermore, if transportation costs from collection sites to processing facilities become too high, the profitability of recycling itself decreases. Therefore, it is crucial to establish a comprehensive system that goes beyond just technology to include coordination with collection networks, logistics, and processing facilities. FRP recycling also serves as a pioneering example of how to integrate composite materials into a circular economy. A material created to last a long time is returned to society as a new resource after use. Rather than allowing its durability—which made it difficult to dispose of—to remain a drawback, the effort to convert it into alternative values, such as cement raw materials or fuel, symbolizes the transition from a society of mass production and mass disposal to a resource-recycling society.

砕かれた船と浴槽がセメントへ帰る FRP廃材再資源化の歩み 2000年代-2026年

FRP、繊維強化プラスチックは、プラスチック樹脂をガラス繊維などで補強した複合材料である。軽量でありながら強度が高く、腐食にも強いため、浴槽、浄化槽、船舶、建築資材、タンク、自動車部品など、さまざまな分野で利用されてきた。しかし、使用時には長所となる丈夫さが、廃棄時には大きな課題となる。金属のように簡単に溶かして再利用することが難しく、樹脂とガラス繊維が強固に結び付いているため、素材ごとの分離も容易ではない。このため、かつては埋立処分や単純焼却に頼る場合が多かった。 こうした問題を背景に、2000年代にはFRP廃材を破砕し、セメント工場で原料や燃料として利用する再資源化の仕組みが注目された。FRPを細かく破砕すると、樹脂部分は熱エネルギーを持つ燃料として利用でき、ガラス繊維などの無機成分はセメントの原料として活用できる可能性がある。つまり、廃材を単に燃やして灰を残すのではなく、燃料と原料の両方として利用する点に特徴がある。 特に課題となったのが、廃船や大型浴槽などの大きなFRP製品である。これらはそのままでは運搬や投入が難しいため、解体、切断、破砕などの前処理が必要となる。破砕時には粉じんが発生するため、作業環境への配慮や設備の安全性も求められる。また、回収場所から処理施設までの輸送費が高くなれば、再資源化そのものの採算性が低下する。そのため、技術だけではなく、回収網や物流、処理施設との連携を含めた仕組みづくりが重要になる。 FRPの再資源化は、複合材料をどのように循環経済へ組み込むかという問題の先駆的な事例でもある。長く使えることを目的に生まれた素材を、使用後には新たな資源として社会へ戻す。捨てにくかった丈夫さを欠点のまま終わらせず、セメント原料や燃料という別の価値へ転換する試みは、大量生産、大量廃棄から資源循環型社会へ移行する過程を象徴している。

Entrusting Prayers to Swollen Eyelids: A Folk History of Illness and Charms—From the Edo Period to the Shōwa Era

Although a stye is now explained as a bacterial infection known as a hordeolum, before the spread of modern medicine, a variety of folk remedies were practiced, involving prayers, charms, food, wells, and shrines and temples. The names for styes—such as “monomogari,” “mebachiko,” and “meibo”—vary by region, and the distribution of these terms offers insights into regional culture and human interaction. Practices such as dropping red beans into a well, reciting specific phrases, or washing the eyes with spring water reflect a mindset that sought healing through the power of nature, deities, and Buddhist and Shinto deities. These customs were not mere superstitions; rather, they were ways in which people combined the knowledge and beliefs available to them to cope with illness in an era when medical care was insufficient. Even after Western medicine spread following the Meiji era, folk remedies did not disappear immediately; they persisted in homes and communities until the Showa era. Through these small charms for styes, we can glimpse the lived world of people—a world where anxiety about illness, community support, views of nature, and faith were all intertwined.

Putting One’s Hopes in Prayer for Swollen Eyelids: A Folk History of Illness and Charms—From the Edo Period to the Shōwa Era

When considering illness and folk beliefs, one particularly interesting example is the stye. Today, a stye is medically known as a hordeolum and is described as a condition caused by a bacterial infection of the eyelid’s sweat glands, sebaceous glands, or Meibomian glands. Symptoms include redness, swelling, and pain; treatment now typically involves antibiotic eye drops or oral medication, and in some cases, surgical incision. However, before modern medicine became widely established, people did not understand illness solely in terms of bacterial infection. Illness was often believed to be related to gods and buddhas, curses, impurity, or mysterious forces, and methods involving prayer, charms, and everyday objects or foods were passed down in various regions. Kunio Yanagita’s folklore studies focused precisely on these beliefs and practices that persisted in everyday life. By examining how people dealt with illness, we can gain insight into how they understood the world and how the sick were supported within their local communities. A stye is one of the most representative examples of this. The name “monomogari” itself has long been thought to be related to an old folk remedy—the belief that receiving an object would cure the condition. In other words, the name of the illness itself may contain traces of treatment methods once practiced. Furthermore, the names for this condition vary significantly by region. In addition to “monomorai,” various other names have been passed down, such as “mebachiko,” “meibo,” and “mebo.” In eastern Japan, the term “monomorai” is widely used, while in parts of western Japan, names like “mebachiko” are common. This regional variation in disease names is not merely a matter of linguistic difference. It also provides clues for understanding population movement, interregional exchange, and the spread of ancient terminology. Even by examining a single disease name, we can gain insight into how culture has spread across the Japanese archipelago and evolved from region to region. The folk remedies for treating styes were also diverse. Folklore records include examples such as using adzuki beans, peering into a well, or dropping adzuki beans into a well. Similar customs involving adzuki beans and wells persisted in geographically distant regions such as Hokkaido, Fukushima Prefecture, and Yamaguchi Prefecture. Adzuki beans have long been used as a special food in Japanese annual events and festivals. Because the color red was believed to have the power to ward off misfortune, they were sometimes used in offerings and magical rituals. Furthermore, wells were not merely places to draw water; they were also often associated with water deities and the spiritual forces of the land. Therefore, the act of dropping adzuki beans into a well may have embodied the idea of entrusting healing to the power of nature or the gods, rather than relying solely on human effort to cure illness. There were also customs that sought healing power in words themselves. For example, there are recorded instances of treating a stye by reciting specific words while applying rice straw or similar materials to the eye, and finally throwing them into a fire. Incantations and spells were also used for other ailments, such as stomachaches or foreign objects in the eye. Here, words were not merely a means of conveying information. It was believed that reciting the correct words in the correct order would generate the power to remove illness. The idea that power resides within words themselves is widely found in Japanese folk beliefs. In Kodaira City, Tokyo, a charm for treating styes was also passed down. In Kodaira of the past, roads were unpaved, and there were many areas where dust would swirl in the wind. Consequently, it is believed that dust entered people’s eyes more frequently than it does today, leading to more instances of people rubbing their eyes with their hands. Styes were a common ailment for people at that time. Consequently, treatments were passed down repeatedly within families and local communities. Folk remedies for illnesses did not simply arise from ancient beliefs; they were also closely tied to the local natural environment and living conditions. Furthermore, in various regions, there are traditions claiming that washing one’s eyes with spring water from a temple cures the condition, or that visiting a shrine alleviates the illness. Although these practices differ from modern medical treatments, they demonstrate that temples, shrines, wells, and springs were recognized in those regions as places possessing special powers. Studying folk remedies is not merely about researching the history of disease. It also contributes to regional historical research, revealing what the local people considered sacred, what they believed possessed healing power, and which places they regarded as special. It is important not to simply dismiss these customs as mere superstition. Before the modern era, it was not as easy for everyone to see a doctor as it is today. Hospitals were scarce, medicine was expensive, and transportation was inadequate in many areas. When people fell ill, they coped with their ailments by combining whatever resources were available to them—knowledge passed down through families, plants, food, wells, shrines and temples, prayers, and charms. There also existed a way of thinking that did not view illness as merely an internal physical abnormality. Illness was sometimes understood to arise as a result of some disruption in the relationship between humans and nature, humans and the divine, humans and their ancestors, or even among humans themselves. Therefore, treatment was not merely an act of healing the body. People would make wishes to the gods and Buddhas, family members would pray, they would seek wisdom from neighbors, and they would act in accordance with community customs. That entire process was, in itself, the way people confronted illness. Even by tracing the history of a minor ailment like a stye, one can see how dialects, religion, medicine, local communities, the natural environment, and family knowledge were intricately intertwined. Before modern medicine began explaining the causes of illness in terms of bacteria or bodily functions, people drew upon the entire world around them to understand and treat illness. Eventually, from the Meiji era onward, Western medicine spread as an institutionalized system, and treatment by hospitals and doctors became firmly established in society. Even so, folk remedies and incantations did not disappear immediately. Even into the Shōwa period, depending on the region or household, hospital treatment and traditional charms were sometimes practiced in parallel. New medicine did not erase old beliefs in an instant. While people embraced new knowledge, they continued to incorporate long-standing practices into their daily lives. Research on illness and folk beliefs is not merely about collecting strange treatments from the past. It is also research into how people, when faced with pain or anxiety, attributed meaning to those events and sought to overcome them. When someone’s eye swelled up, some would take red beans and head to a well. Others would clasp their hands in prayer to the gods and Buddhas. Some recited words passed down through the ages. And standing by their side were family members and neighbors praying for their recovery. Within these small prayers and charms for styes lie, quietly preserved, the anxieties and wisdom of people who lived in an era when medical care was insufficient—along with their earnest desire to ward off illness by any means necessary.