油の行方を変えた会社 ダイセキと再資源化ビジネスの飛躍 1958年-2000年

ダイセキは1958年に設立され、潤滑油の製造と廃油の再生から事業を広げました。1972年には名古屋市で産業廃棄物処理業の許可を取得し、廃油や汚泥を単に処分するのではなく、再生燃料や資源として生かす方向を強めていきます。1995年には株式を店頭公開し、1999年8月には東京証券取引所と名古屋証券取引所の市場第二部へ上場しました。当時の環境ビジネスレポートは、産業廃棄物中間処理事業者として初の上場と紹介し、環境部門が事業の中心を占めていたと伝えています。最終処分場の不足が問題となるなか、廃棄物の減容化と再資源化を成長分野として捉え、土壌汚染調査などの環境分析や新しい処理技術の研究開発にも乗り出そうとしていました。廃棄物を不要物ではなく資源として見る発想が、環境対策と企業成長を結び付け た事例です。

鉄の炉に戻ったタイヤ 広畑製鉄所が拓いた資源循環 1998年-2008年

新日本製鐵の広畑製鉄所では、1998年から廃タイヤの再資源化に取り組みました。背景には、廃タイヤを焼却や埋立てだけで処理するのではなく、製鉄工程の原料や燃料として使い切ろうという発想がありました。広畑製鉄所では、1993年に操業を始めた冷鉄源溶解法、SMP法を活用し、廃タイヤに含まれるカーボンを還元剤や燃料として利用し、スチールコードを鉄源として回収しました。1999年当時の資料でも、廃タイヤを製鉄工程に投入することで、カーボンブラックを還元剤、鉄分を溶鉄原料、合成ゴムをガスとして利用する仕組みが紹介されています。 その後はガス化リサイクル設備も導入され、油、ガス、カーボン残さ、鉄分まで再資源化する体制が整えられました。新日鉄の報告では、年間約12万トンの廃タイヤを処理できる体制を構築し、日本で発生する廃タイヤの1割以上を担う規模に達したとされています。タイヤを廃棄物ではなく、鉄、炭素、エネルギーを含む資源として製鉄所へ戻すこの仕組みは、異なる産業を結び付ける循環型リサイクルの象徴的な事例となりました。

容器包装をめぐる攻防 厚生省と通産省がつくった新しいリサイクル制度 1994年-2000年

1990年代半ば、日本では大量消費によって家庭ごみが増え、最終処分場の逼迫が深刻になっていました。なかでも容器包装は、ごみの容積の大きな割合を占めていました。1995年3月時点では、厚生省が事業者にびんや缶などの回収・再生義務を求める一方、通産省は、技術的にリサイクルが難しい包装まで一律に対象とすることに慎重でした。しかし両省は、すべての包装廃棄物を対象とする新法の成立で合意し、店頭回収、自主回収、指定機関への委託、再生業者への委託など複数の方法を認める制度案をまとめました。 この議論を経て、1995年6月に「容器包装に係る分別収集及び再商品化の促進等に関する法律」、いわゆる容器包装リサイクル法が制定されました。従来、市町村が中心だったごみ処理を、消費者が分別排出、市町村が分別収集、事業者が再商品化するという役割分担へ転換した点が大きな特徴です。1997年に一部施行され、2000年に紙製容器包装やプラスチック製容器包装まで対象を広げて完全施行されました。日本の廃棄物政策が、単なる処理から生産者を含む資源循環へ移っていく転換点でした。

Tires Returned to the Steel Furnace: The Resource Recycling Pioneered by the Hirohata Steel Works, 1998–2008

At Nippon Steel’s Hirohata Steel Works, efforts to recycle scrap tires began in 1998. The underlying concept was to fully utilize scrap tires as raw materials and fuel in the steelmaking process, rather than simply disposing of them through incineration or landfilling. The Hirohata Steel Works utilized the SMP (Cold Iron Source Melting) process, which began operations in 1993, to use the carbon contained in waste tires as a reducing agent and fuel, while recovering the steel cord as a source of iron. Documents from 1999 describe a system in which waste tires were fed into the steelmaking process, with carbon black used as a reducing agent, iron content as raw material for molten iron, and synthetic rubber converted into gas. Subsequently, gasification recycling facilities were also introduced, establishing a system capable of recycling oil, gas, carbon residue, and even iron. According to a report by Nippon Steel, the company built a system capable of processing approximately 120,000 metric tons of scrap tires annually, reaching a scale that accounted for more than 10 percent of the scrap tires generated in Japan. This system—which returns tires to steel mills not as waste but as a resource containing iron, carbon, and energy—has become a symbolic example of circular recycling that bridges different industries.

The Company That Changed the Fate of Oil: Daiseki and the Boom in the Recycling Business, 1958–2000

Founded in 1958, Daiseki expanded its business from the manufacture of lubricating oils to the recycling of waste oil. In 1972, the company obtained a license for industrial waste disposal in Nagoya City and began shifting its focus away from simply disposing of waste oil and sludge toward utilizing them as recycled fuel and resources. In 1995, the company began trading its shares over-the-counter, and in August 1999, it was listed on the Second Section of both the Tokyo Stock Exchange and the Nagoya Stock Exchange. An environmental business report from that time noted that it was the first listing by an industrial waste intermediate treatment operator and reported that the environmental division constituted the core of the company’s business. Amid growing concerns over a shortage of final disposal sites, the company identified waste volume reduction and resource recovery as growth areas and was preparing to embark on environmental analysis—such as soil contamination surveys—as well as research and development of new treatment technologies. This approach—viewing waste not as a burden but as a resource—is a prime example of how environmental measures and corporate growth can be effectively linked.

Reflecting the Human Heart on a Night of the Supernatural: Ueda Akinari, 1734–1809

Ueda Akinari, born in Osaka in 1734, was a scholar of Japanese classics and an author of popular story collections. His masterpiece, *Ugetsu Monogatari*, was completed in 1768 and published in 1776. This masterpiece of early popular fiction, consisting of nine stories centered on strange tales and supernatural phenomena, draws on Chinese novels and Japanese classics to depict human obsession, love, betrayal, and thoughts of the deceased. The National Institute of Japanese Literature also regards *Ugetsu Monogatari* as a representative work of early popular fiction. Publications featuring Ueda Akinari were introduced as advertisements, indicating that his supernatural literature was being re-examined as early as the 1970s. In the magazine, Ueda Akinari’s name was prominently featured in a special supplement titled *Modern Poetry Notebook*, offering a glimpse into a publishing culture that reevaluated Edo-period literature from a contemporary perspective. Shūsei left behind not only *Ugetsu Monogatari* but also *Harusame Monogatari* and *Tan-dai Shōshinroku*. He was a writer who maintained a sharp critical spirit until his later years, moving back and forth between classical scholarship and creative writing, and who continued to depict human emotions and social contradictions beyond the realm of the supernatural.

木ではない紙の道 非木材紙普及協会 1993年-2007年

1993年、森林資源への依存を減らし、木材以外の植物を紙の原料として活用することを目指して、非木材紙普及協会が設立されました。ケナフ、バガス、竹などの植物繊維を利用した紙を広め、資源の有効利用と環境負荷の低減を図ろうとする活動です。1997年の環境ビジネスレポートでも、非木材紙を普及させる団体として紹介され、紙の原料を森林だけに求めない新しい選択肢が注目されています。 その後、協会は2003年にNPO法人化し、2007年には非木材グリーン協会へ名称を変更しました。現在は紙だけでなく、サトウキビの搾りかすであるバガス、オイルパーム空果房、竹などの未利用植物資源を、パルプ、容器、建材などへ活用する研究や普及活動も進めています。森林を守るという発想から始まった非木材紙は、やがて廃棄物を資源へ変える循環型社会の考え方へと広がっていきました。

怪異の夜に人の心を映す 上田秋成 1734年-1809年

上田秋成は1734年、大坂に生まれた国学者、読本作者です。代表作の雨月物語は1768年に成立し、1776年に刊行されました。奇談や怪異を題材とした9編からなる初期読本の名作で、中国小説や日本の古典を踏まえながら、人間の執念、愛情、裏切り、死者への思いなどを描いています。国文学研究資料館も、雨月物語を前期読本の代表作と位置付けています。 上田秋成を扱った出版物が広告として紹介されており、1970年代にも秋成の怪異文学が読み直されていたことが分かります。誌面には別冊現代詩手帖として上田秋成の名が大きく掲げられ、江戸文学を現代的な視点から再評価する出版文化の一端が見えます。秋成は雨月物語だけでなく、春雨物語や胆大小心録も残しました。晩年まで鋭い批評精神を保ち、古典研究と創作を往復しながら、怪異の向こうに人間の感情と社会の矛盾を描き続けた作家でした。

Winter on the Black Sea: The Nahodka Heavy Fuel Oil Spill, January 1997–Spring 1997

On January 2, 1997, the Russian-flagged tanker Nakhodka, carrying approximately 19,000 kiloliters of C-grade heavy fuel oil, was sailing in the Sea of Japan when its hull ruptured in rough seas off the Oki Islands. The stern sank, while the bow drifted, spilling heavy fuel oil, and eventually washed ashore off Mikuni Town, Fukui Prefecture, on January 7. According to the Japan Coast Guard, the estimated volume of oil spilled was approximately 6,240 kiloliters, and the oil spread along the Sea of Japan coastline from Shimane Prefecture to Akita Prefecture. The *Environmental Business Report* at the time covered this incident not merely as a maritime accident, but as an event that highlighted the weaknesses in Japan’s oil spill response measures. There was a lack of equipment and specialized personnel capable of recovering large quantities of high-viscosity heavy fuel oil spilled in the open ocean, forcing local governments, fishermen, residents, and volunteers to conduct manual recovery operations along the coast. The report identified the preparation of equipment and materials, the establishment of specialized response organizations, and the allocation of responsibilities among relevant agencies as key challenges. Following the accident, the government established the Nahodka Shipwreck and Oil Spill Disaster Response Headquarters, and the Japan Coast Guard, the Self-Defense Forces, and local governments carried out cleanup operations. Since then, efforts have been made to procure large-scale oil recovery equipment and machinery capable of handling high-viscosity oil, and the Japan Coast Guard now maintains a Mobile Oil Spill Response Unit that can be deployed nationwide. The Nahodka incident served as a major catalyst for a practical reevaluation of Japan’s marine oil spill countermeasures.

The Path to Paper Without Wood: Non-Wood Paper Promotion Association, 1993–2007

In 1993, the Non-Wood Paper Promotion Association was established with the goal of reducing dependence on forest resources and utilizing plants other than wood as raw materials for paper. The association’s activities aim to promote paper made from plant fibers such as kenaf, bagasse, and bamboo, thereby fostering the effective use of resources and reducing environmental impact. The association was featured in the 1997 Environmental Business Report as an organization promoting non-wood paper, and this new approach—which does not rely solely on forests for paper raw materials—has garnered significant attention. Subsequently, the association became a registered NPO in 2003 and changed its name to the Non-Wood Green Association in 2007. Currently, the association is advancing research and outreach activities not only for paper but also for the utilization of underutilized plant resources—such as bagasse (sugarcane pulp residue), empty fruit bunches from oil palms, and bamboo—in the production of pulp, containers, and building materials. Non-wood paper, which began with the idea of protecting forests, has since expanded into the concept of a circular economy that transforms waste into resources.

水を磨く黒い粒 三菱化学と金町浄水場 1993年-1995年

1990年代前半、水道水の安全性への関心が高まり、トリハロメタンなどの有機塩素化合物への対策が課題となっていました。1993年12月には新しい水道水質基準が施行され、浄水場では従来の処理に加えて、オゾンと活性炭を組み合わせた高度浄水処理の導入が進みます。東京都の金町浄水場では1992年6月から、オゾンと生物活性炭による高度浄水処理が始まっていました。 こうした流れの中で三菱化学は、ピッチ系活性炭を用いた高度浄水システムを金町浄水場や大阪府の村野浄水場に納入していました。活性炭は微細な孔に有機物などを吸着しますが、長期間使うと吸着力が低下します。そこで同社は、使用済み粒状活性炭を焼成して再利用する仕組みに注目し、兵庫県加古川に再生拠点を設置するとともに、関東地区にも再生拠点を整備する計画を進めました。記事では2000年頃には活性炭需要が当時の2倍から3倍になるとの予測も紹介されています。

A Critic Who Stepped Beyond Words: Shuzo Takiguchi, 1903–1979

Shuzo Takiguchi was a poet and art critic born in Toyama Prefecture in 1903. He studied under Junzaburo Nishiwaki at Keio University and developed a strong interest in Surrealism from the late 1920s onward. In 1930, he translated André Breton’s *Surrealism and Painting*, playing a key role in introducing Surrealist art to Japan. The source discusses Takiguchi’s approach—which, in contrast to the kind of criticism that delves into the inner workings of literary works, as exemplified by Hideo Kobayashi—was open to multiple artistic fields, including painting, photography, and film. After the war, he became deeply involved with young avant-garde artists through venues such as the Yomiuri Independent Exhibition and the Takemiya Gallery, and in 1958, he served as commissioner and juror for the Japanese Pavilion at the Venice Biennale. From around 1960, he began creating his own drawings and decalcomania works, crossing the boundary from critic to artist. For Takiguchi, words were not merely a tool for explaining works of art, but experiments in themselves for approaching unknown forms of expression.

言葉の外へ歩いた批評家 瀧口修造 1903年-1979年

瀧口修造は1903年に富山県に生まれた詩人、美術評論家です。慶應義塾大学で西脇順三郎に学び、1920年代後半からシュルレアリスムに強く関心を寄せました。1930年にはアンドレ・ブルトンの超現実主義と絵画を翻訳し、日本にシュルレアリスム美術を紹介する重要な役割を担います。資料では、小林秀雄との対照を通じて、文学作品の内面を読み込む批評とは異なり、絵画や写真、映画など複数の芸術領域へ開かれた瀧口の姿勢が論じられています。 戦後は読売アンデパンダン展やタケミヤ画廊などを通じて若い前衛作家たちと深く関わり、1958年にはヴェネチア・ビエンナーレ日本館のコミッショナーと審査員を務めました。1960年頃からは自らドローイングやデカルコマニーなどの制作にも取り組み、批評する人から制作する人へと境界を越えていきます。瀧口にとって言葉は作品を説明するためだけの道具ではなく、未知の表現へ近づくための実験そのものでした。

Black Granules That Purify Water: Mitsubishi Chemical and the Kanamachi Water Treatment Plant, 1993–1995

In the early 1990s, concern over the safety of tap water grew, and measures to address organic chlorinated compounds—such as trihalomethanes—became a key issue. In December 1993, new tap water quality standards went into effect, and water treatment plants began introducing advanced water treatment systems that combined ozone and activated carbon in addition to conventional treatment methods. At the Kanamachi Water Treatment Plant in Tokyo, advanced water treatment using ozone and bio-activated carbon had been underway since June 1992. Amid this trend, Mitsubishi Chemical supplied advanced water purification systems using pitch-based activated carbon to the Kanamachi Water Treatment Plant and the Murano Water Treatment Plant in Osaka Prefecture. Activated carbon adsorbs organic substances and other contaminants in its microscopic pores, but its adsorption capacity declines with prolonged use. Consequently, the company focused on a system for calcining and reusing spent granular activated carbon; it established a regeneration facility in Kakogawa, Hyogo Prefecture, and moved forward with plans to set up a regeneration facility in the Kanto region as well. The article also cited a forecast that demand for activated carbon would double or triple by around the year 2000.

戦場の麦畑に残った声 火野葦平と麦と兵隊 1937年から1960年

火野葦平は1907年、福岡県若松に生まれ、本名を玉井勝則といいます。1937年、日中戦争への応召直前に書いた糞尿譚で芥川賞を受賞し、その知らせを戦地で受けました。翌1938年には、中国戦線での経験をもとに麦と兵隊を発表します。国立国会図書館の書誌でも、同作は1938年に改造社から刊行されたことが確認できます。 麦と兵隊は、軍の要請を受けて執筆された従軍記でありながら、故国を思い、死への恐怖を抱えながら生きる兵士の日常を描いた作品でもありました。大きな反響を呼び、火野は兵隊作家として一躍有名になります。 しかし敗戦後、火野は戦争協力をめぐって厳しい批判を受け、公職追放も経験しました。その後、花と龍や革命前後などを書き、自らの戦争体験と戦争責任を見つめ直していきます。資料の作家病理という視点から見ると、戦時下の名声と敗戦後の孤立という落差は、火野の後半生を考える重要な背景です。1960年1月24日に死去し、のちに遺族から自殺だったことが明らかにされました。

Voices Left Behind in the Battlefield Wheat Fields: Shihei Hino, Wheat, and Soldiers, 1937–1960

Shihei Hino was born in 1907 in Wakamatsu, Fukuoka Prefecture; his real name was Katsunori Tamai. In 1937, he won the Akutagawa Prize for *Fecal and Urine Tales*, which he wrote just before being drafted into the Sino-Japanese War, and received the news while on the battlefield. The following year, in 1938, he published *Wheat and Soldiers*, based on his experiences on the Chinese front. Bibliographic records at the National Diet Library confirm that this work was published by Kaizōsha in 1938. Although *Wheat and Soldiers* was a war correspondent’s account written at the request of the military, it also depicted the daily lives of soldiers who longed for their homeland and lived with a fear of death. The book generated a huge response, and Hino instantly rose to fame as a “soldier-writer.” However, after Japan’s defeat, Hino faced severe criticism for his collaboration with the war effort and was even barred from holding public office. Subsequently, he wrote works such as *Flowers and Dragons* and *Before and After the Revolution*, in which he reexamined his own wartime experiences and his responsibility for the war. From the perspective of “author pathology” in the source material, the stark contrast between his wartime fame and his postwar isolation provides crucial context for understanding the latter half of Hino’s life. He died on January 24, 1960, and it was later revealed by his family that he had taken his own life.

A Dialogue That Began in the Silent Postwar Era: Yutaka Haniya and Hideo Kobayashi, 1946–the 1970s

A key event in understanding the connection between Yutaka Haniya and Hideo Kobayashi was the roundtable discussion titled “Comédie Littéraire: A Gathering Around Hideo Kobayashi,” organized by the magazine *Kindai Bungaku* in 1946. Participants included Yutaka Haniya, Masato Ara, Hideo Odagiri, Kiichi Sasaki, Ken Hirano, and Shugo Honda. Records from Shinchosha also confirm that this roundtable discussion was part of Hideo Kobayashi’s work in 1946. Immediately after the war, the contributors to *Modern Literature* sought to transcend their differing literary stances—those of the proletarian writer Yorito Kurahara and the critic Hideo Kobayashi—in order to build a new literary philosophy. Within this context, Haniya continued to reflect on issues such as politics, existence, freedom, and revolution, going beyond mere literary criticism. His later essay, “Hideo Kobayashi and Us,” looks back on this starting point of postwar literature while reexamining what the towering critic Hideo Kobayashi left behind for their generation. Materials from the National Diet Library also confirm that “Hideo Kobayashi and Us” is a work by Yutaka Haniya. While Hideo Kobayashi valued intuition regarding works and art itself, Yutaka Haniya expanded his contemplation to the very foundations of existence and politics. The gap between the two was not small. However, it is precisely this gap that generated significant tension within postwar literature; for Haniya, Hideo Kobayashi was not so much a figure with whom he agreed as a critical presence he must overcome—a perception that persisted for a long time.

荒野を渡る歌声 小林旭と熱き心に 1985年から1986年

1985年、小林旭は「熱き心に」を発表しました。作詞は阿久悠、作曲は大瀧詠一、編曲は前田憲男です。もともとはAGFマキシムのCMソングとして企画され、大瀧が敬愛していた小林のために書いた楽曲でした。阿久悠の公式資料では、1985年12月1日発表とされ、翌1986年には日本レコード大賞の金賞と作詩賞を受賞しています。 小林は日活アクション映画で、渡り鳥や無国籍映画の主人公を演じてきたスターです。そのため「熱き心に」の雄大な旋律は、単なる歌謡曲というより、広い荒野を進む映画の主人公を思わせます。小林自身も後年、録音時に壮大なイントロを聴き、西部劇映画「大いなる西部」を連想して、曲の大きなスケールを理解したと振り返っています。 阿久悠の言葉、大瀧詠一のポップス感覚、前田憲男のストリングス、そして小林旭の低く太い歌声が重なり、昭和映画のスター像が1980年代の音楽へと移し替えられました。「熱き心に」は、小林旭の過去のイメージを懐古するだけでなく、それを新しい時代のサウンドとして再生した作品です。

Rock Without the Moonlight Mask: The Era of Hiromitsu Suzuki and the Mops, 1971

In 1971, Mops—with Hiromitsu Suzuki on vocals—released “Moonlight Mask.” Originally, Moonlight Mask was a hero of justice born from television in the late 1950s. Mops boldly reimagined “Who Is Moonlight Mask?,” the song best known as the show’s theme song, as a blues-rock track. With Hiromitsu Suzuki’s narration and humorous staging, the nostalgic hero was not simply recreated but reborn as a parody within the youth culture of the 1970s. According to online sources, the song originated when the band performed it at a jazz café to illustrate the blues; as they experimented with various arrangements—including tango- and rock-and-roll-style versions—it gained popularity and was released on vinyl on March 25, 1971. The title “Where Is Moonlight Mask Going?” included in the collection is also symbolic. Hiromitsu Suzuki’s generation reimagined the straightforward, clear-cut hero of postwar television through humor and rock music. Here, Moonlight Mask serves not only as a hero from the past who protects children but also as a figure that reflects Japan in 1971, a time when values were undergoing significant change.

斉藤由貴と筒美京平 卒業に刻まれた新しい季節 1985年

1985年2月、斉藤由貴は「卒業」で歌手デビューしました。作詞は松本隆、作曲は筒美京平、編曲は武部聡志です。資料では、従来の昭和歌謡の枠組みを保ちながら、シンセサイザーの電子音、イントロのアルペジオ、現代的なコード感などを加え、新しい時代の空気を感じさせる作品だったと論じられています。とりわけ筒美京平の流麗な旋律は、抑制された前半からサビへ自然に感情を解放し、松本隆が描く少女の揺れる心情と結び付きました。 武部聡志にとっても「卒業」は大きな転機でした。後年、武部自身が、この曲がオリコン最高6位となったことで編曲家として認められ、筒美京平、松本隆と初めて仕事をした作品だったと振り返っています。斉藤由貴も30周年公演で、松本の詞、筒美の曲、武部のピアノアレンジが出会ったからこそ生まれた曲だと語っています。「卒業」は、別れを大げさに嘆くのではなく、未来へ進もうとする少女の静かな決意を描き、昭和歌謡から1980年代後半の新しいポップスへ橋を架けた1曲となりました。

銀幕を渡り歩いた女優 田中絹代と映画監督たち 1924年から1970年代

田中絹代の約50年に及ぶ映画人生は、日本映画を代表する監督たちとの出会いによって形づくられました。1924年に松竹へ入り、清水宏の作品で早くから主演を務め、その後、小津安二郎、五所平之助、溝口健二、成瀬巳喜男、木下惠介、市川崑らの作品に出演しました。松竹の資料では、生涯の出演作は約260本に及ぶとされています。 小津安二郎の映画では、日常生活の細かな感情を静かな演技で表現し、溝口健二の作品では、過酷な運命を背負う女性の強さと悲しみを演じました。とくに「西鶴一代女」「雨月物語」「山椒大夫」などへの出演は、田中の国際的な評価にもつながりました。溝口は厳しい演出で知られ、国立映画アーカイブも田中を「溝口組」を支えた重要な俳優の一人として位置づけています。 田中絹代を追うことは、一人のスターの伝記を読むだけではありません。監督によって変化する演技、撮影所の制作文化、女性に求められた役割、そして戦前から戦後へ移り変わる日本社会までが、その表情の中に刻まれています。さらに田中自身も1950年代には映画監督となり、演じる側から映画を作る側へ踏み出しました。国立映画アーカイブでは、監督作「乳房よ永遠なれ」なども現在あらためて紹介されています。

Yuki Saito and Kyohei Tsutsumi: “Graduation”—A New Season Etched in Time, 1985

In February 1985, Yuki Saito made her singing debut with “Graduation.” The lyrics were written by Takashi Matsumoto, the music was composed by Kyohei Tsutsumi, and the arrangement was by Satoshi Takebe. Scholarly sources note that while the song retained the framework of traditional Showa-era pop music, it incorporated electronic synthesizer sounds, arpeggios in the intro, and a contemporary sense of chord progression, creating a work that evoked the spirit of a new era. In particular, Kyohei Tsutsumi’s flowing melody naturally released emotion from the restrained first half into the chorus, resonating with the fluctuating emotions of the young girl portrayed by Takashi Matsumoto. For Satoshi Takebe as well, “Graduation” marked a major turning point. Years later, Takebe himself reflected that reaching No. 6 on the Oricon charts established him as an arranger and that this was the first project on which he worked with Kyōhei Tsutsumi and Takashi Matsumoto. At her 30th-anniversary concert, Yuki Saito also remarked that the song was born precisely because Matsumoto’s lyrics, Tsutsumi’s composition, and Takebe’s piano arrangement came together. Rather than dramatizing the sorrow of parting, “Graduation” depicted the quiet resolve of a young girl moving forward toward the future, becoming a song that bridged the gap between Showa-era kayōkyoku and the new pop music of the late 1980s.

海を見つめる処理の灯 北九州市のPCB広域処理施設 2002年-2024年

2002年の資料は、北九州市に計画されたPCB広域処理施設について、新日本製鉄を中心とする企業グループが建設を受注する見通しだと報じています。当時は提案の審査前であり、記事は契約の成立を伝えたものではありません。PCBは、かつて変圧器やコンデンサーの絶縁油などに使われた化学物質です。使用を終えた機器を長く保管するだけでは問題を解決できず、安全に分解する施設が求められていました。北九州の施設は2003年に着工し、2004年12月、全国に先駆けて操業を開始します。機器からPCBを取り出す前処理と、PCBを化学的に分解する工程を担いました。広い地域から集まる廃棄物を処理し続けた施設は、2024年3月に操業を終えました。計画段階の記事には、処理方法だけでなく、どこで引き受けるのかという課題も刻まれています� ��

お台場の白い塊と、雨の日の下水道

東京都港区のお台場海浜公園では、1990年代後半から、白っぽい塊が砂浜に漂着する問題が報じられました。「オイルボール」と呼ばれますが、主な原因として東京都が注目したのは、海上で流出した石油ではなく、家庭などから下水道へ流された油脂でした。元の記事は、油やせっけんに由来する成分が塊になり、雨の後に流れ出ると説明しています。 仕組みの鍵は「合流式下水道」です。東京の多くの地域では、生活排水と雨水を同じ管で運びます。普段は下水を処理施設へ送れますが、大雨で流量が増えると、一部が川や海へ放流されます。管の内側に付着していた油脂の塊も、雨水ではがされて流出することがあります。お台場への漂着は、台所で流した油と、雨の日の下水道の働きがつながっていることを目に見える形で示しました。 東京都はその後、雨水の放流口にごみや油の塊を流れにくくする装置を設け、降り始めの汚れた下水を一時的にためる施設も整備しました。同時に、家庭や飲食店へ油を下水道に流さないよう呼びかけています。食器や鍋の油を洗う前に拭き取ることも、管の詰まりと水辺への流出を減らす対策の一つです。

海の底に、貝殻の居場所を 本間コンクリート工業の魚礁づくり 2010年-2017年

カキの身を取り出した後に残る殻を、海の生き物のすみかに変えられないか。新潟市の本間コンクリート工業は、カキ殻を混ぜた海中用ブロックを開発しました。2010年の資料は、魚などが身を寄せられる形状を工夫し、海藻が減る「磯焼け」で傷んだ海の環境回復や、港湾工事での利用を目指すと伝えています。捨てられる殻を材料に使いながら、海の底に生き物が集まる場所をつくる試みです。同社の後年の資料には、カキ殻をコンクリートに混ぜた多孔質ブロックの設置例が掲載されています。会社の紹介では、設置場所で海藻の繁茂やナマコの確認も示されています。ただし、それだけで広い海域の生態系が回復したとは言えません。この事例が示すのは、工事に使うブロックに、生き物が暮らす場をつくる役割も持たせようとする� ��想です。

雪の下にも光は届く 昭和シェル石油と新潟の太陽光発電 2009年-2010年

雪の多い土地で、太陽光発電は事業として成り立つのか。昭和シェル石油と新潟県は、その問いを確かめるため、新潟市東区の石油製品輸入基地に「新潟雪国型メガソーラー発電所」を建設しました。2010年8月31日に運転を開始した施設には、同社グループ製の太陽電池が12528枚並びます。発電規模は約1000キロワット、年間発電量の見込みは約100万キロワット時で、一般家庭約300世帯分に相当します。電力は全量を東北電力に売る計画でした。雪対策としてパネルを地上1メートルの高さに設け、傾斜角は20度と30度の2種類を採用。雪の落ち方と発電量を比べ、雪国に適した設置方法を探りました。県はこの事業を、再生可能エネルギーの普及と関連産業の育成につなげようとしていました。石油を扱ってきた敷地に太陽電池を並べ、冬の空の� ��で発電を試みた施設です。

Turning Abandoned Ships in the Harbor into Resources: Nagasaki’s FRP Scrap Ship Processing Experiment, 1994–2008

Lightweight and durable fishing boats made of FRP are difficult to dismantle or dispose of once they have served their purpose, leading to problems such as them being left abandoned in harbors or illegally dumped. Documents from 1995 report that demonstration equipment was installed at the New Nagasaki Fishing Port and trial operations had begun. FRP is a material composed of resin and glass fiber. This facility tested a method of crushing and heating the hull to gasify the resin while retaining the glass fiber. According to a technical report by Mitsubishi Heavy Industries, the experiment was conducted primarily by Marino Forum 21 in collaboration with Nagasaki Prefecture and the company. In other words, while the New Nagasaki Fishing Port served as the experimental site, it cannot be confirmed that Nagasaki City was the entity responsible for implementing the project. Subsequently, the national government verified a system for collecting and crushing scrapped vessels to utilize the m as raw materials for cement or as fuel. In fiscal year 2008, full-scale operation of the FRP vessel recycling system began nationwide. The question of how to dispose of vessels left in ports has expanded into the development of collection systems that can be used in various regions.

The White Lumps in Odaiba and Rainy-Day Sewers

At Odaiba Seaside Park in Minato Ward, Tokyo, reports have surfaced since the late 1990s regarding a problem with whitish lumps washing up on the sandy beach. Although these are called “oil balls,” the Tokyo Metropolitan Government identified the primary cause not as oil spilled at sea, but as grease and oil discharged into the sewer system from households and other sources. The original article explains that substances derived from oil and soap form these clumps, which are washed out after it rains. The key to this mechanism is the “combined sewer system.” In many areas of Tokyo, domestic wastewater and stormwater are transported through the same pipes. Normally, the wastewater can be sent to treatment facilities, but when heavy rain increases the flow, some of it is discharged into rivers or the ocean. Clumps of grease adhering to the inside of the pipes can also be dislodged by stormwater and washed out. The oil clumps washing up on Odaiba provided a visible demonstration of the connection between oil poured down kitchen drains and how the sewer system functions on rainy days. Subsequently, the Tokyo Metropolitan Government installed devices at stormwater outfalls to prevent debris and oil clumps from flowing out, and also built facilities to temporarily store contaminated sewage at the onset of rainfall. At the same time, the government is urging households and restaurants not to pour oil down the drain. Wiping off oil from dishes and pots before washing them is also one measure to reduce pipe blockages and runoff into waterways.

Light Reaches Even Beneath the Snow: Showa Shell Sekiyu and Solar Power Generation in Niigata, 2009–2010

Can solar power generation be a viable business in a region with heavy snowfall? To answer this question, Showa Shell Sekiyu and Niigata Prefecture constructed the “Niigata Snow Country Mega-Solar Power Plant” at the petroleum product import terminal in Higashi Ward, Niigata City. The facility, which began operations on August 31, 2010, features 12,528 solar panels manufactured by the company’s group. With a generating capacity of approximately 1,000 kilowatts, the estimated annual power generation is about 1 million kilowatt-hours—enough to power approximately 300 households. The plan was to sell the entire output to Tohoku Electric Power. As a snow-management measure, the panels were installed 1 meter above the ground, with two different tilt angles: 20 degrees and 30 degrees. By comparing snow accumulation patterns with power generation levels, the company sought to identify the optimal installation method for snowy regions. The prefecture aimed to use this project to prom ote the adoption of renewable energy and foster related industries. This facility, located on a site that had previously handled petroleum, installed solar panels and attempted to generate electricity under the winter sky.

空へ帰る白い翼 兵庫県とコウノトリの野生復帰 1971年-2005年

1971年、兵庫県豊岡盆地を最後の生息地として、日本の野生コウノトリは姿を消しました。営巣する木の伐採、湿地の減少、農薬の影響などが重なったためです。それでも兵庫県は飼育と繁殖を続けました。1996年の資料には、ヒナに餌を取ることや羽ばたくことを学ばせ、市民も観察できる公園を造る計画が記されています。鳥を空に放つだけでは、野生復帰は果たせません。飛び立った先に餌を取れる場所が必要です。1999年、豊岡市に県立コウノトリの郷公園が開園。地域では餌場となる湿地や田んぼの環境づくりも進められました。そして2005年9月24日、飼育されていた5羽が試験放鳥されます。白い翼が豊岡の空へ戻った日は、長年の保護活動が新たな段階に入った日でもありました。

Lights Gazing Out at the Sea: Kitakyushu City’s Regional PCB Treatment Facility, 2002–2024

A 2002 report stated that a consortium led by Nippon Steel was expected to win the contract to build the regional PCB treatment facility planned for Kitakyushu City. At that time, the proposals had not yet been reviewed, and the article did not report that a contract had been finalized. PCBs are chemical substances that were once used in insulating oils for transformers and capacitors. Simply storing end-of-life equipment for long periods would not solve the problem, so there was a need for facilities capable of safely dismantling them. Construction on the Kitakyushu facility began in 2003, and it began operations in December 2004, becoming the first of its kind in Japan. It handled both the pretreatment process—extracting PCBs from equipment—and the chemical decomposition of the PCBs. The facility, which continued to process waste collected from a wide area, ceased operations in March 2024. The article from the planning stage highlights not only the treatment methods but also th e challenge of determining where to accept the waste.

山々を結ぶ森の道 奥羽山脈の自然樹林帯 1995年-2000年

青森県の八甲田山から宮城県と山形県にまたがる蔵王山へ、奥羽山脈に沿って約400キロの森をつなぐ。1996年の記事は、青森営林局がまとめた奥羽山脈縦断自然樹林帯の整備構想を伝えています。点在する保護林を結び、野生生物が移動できる連続した森林を守る計画です。森を1つずつ囲って保護するだけでは、生き物の生息地が分断されます。山並みに沿って樹林帯を保てば、生息地のつながりや森林生態系を広い範囲で維持できます。構想は1995年度にまとめられ、後に国有林の「緑の回廊」という仕組みへ発展しました。東北森林管理局によると、奥羽山脈緑の回廊は2000年度に設定されています。長い年月をかけて森を育て、山から山へ命の行き来を支える試みです。

Forest Trails Connecting the Mountains: Natural Forested Areas of the Ou Mountains, 1995–2000

Stretching approximately 400 kilometers along the Ou Mountains, this forest corridor connects Mount Hakkoda in Aomori Prefecture to Mount Zao, which straddles Miyagi and Yamagata Prefectures. An article from 1996 reports on a development plan for a natural forest corridor running the length of the Ou Mountains, compiled by the Aomori Forestry Bureau. The plan aims to connect scattered protected forests and preserve a continuous forest corridor that allows wildlife to move freely. Simply enclosing and protecting individual forests would fragment wildlife habitats. By maintaining a forest corridor along the mountain range, habitat connectivity and forest ecosystems can be sustained over a wide area. The plan was finalized in fiscal year 1995 and later evolved into the “Green Corridor” system for state-owned forests. According to the Tohoku Forest Management Bureau, the Ou Mountains Green Corridor was established in fiscal year 2000. It is an initiative to nurture forests over many years and support the flow of life from mountain to mountain.

笑いを土に埋めた日 はなし塚と禁演落語 1941年-1946年

戦時体制が強まるなか、落語界では、遊里、酒、妾などを題材とする噺が、時局にふさわしくないものと見なされるようになった。1941年、落語界の関係者は、三枚起請、品川心中、明烏、五人廻し、木乃伊取りなど53演目を禁演落語に指定し、高座にかけないことを決めた。同年10月、東京浅草の本法寺には、その噺を葬る象徴として、はなし塚が建立された。当時は寄席にも官憲の監視が及び、落語家たちは表現を自粛する一方、倹約、献金、防諜、出産奨励などを題材とした国策落語も演じた。こうして、人間の欲望や弱さを笑いに変えてきた古典落語の一部は、戦争の時代に高座から姿を消した。禁演は終戦後も続いたが、1946年9月に解かれた。現在も本法寺のはなし塚では法要が行われ、笑いさえ自由でなくなった時代と、芸能と戦� ��の関係を伝えている。

Sanrizuka and the Mobile Police Force’s Third Major Offensive

This section examines the so-called “Third Major Offensive” by the Mobile Police Force during the Sanrizuka struggle over the construction of Narita Airport. It documents the experiences of those who participated in the movement through the clashes between students, protesters, and state authorities.

The City Lit by Red Tents: Hanazono Shrine and Shinjuku’s Film Culture, 1960s–1970s

From the 1960s through the 1970s, the area around Hanazono Shrine in Shinjuku was a unique cultural hub where film, theater, jazz, and youth culture intermingled. The movie experience extended beyond simply watching a film in a theater; it included heading out into the streets after the screening, visiting coffee shops and bars, and engaging in conversation with others. In 1964, the Kinokuniya Hall opened, and the small-theater movement spread throughout Shinjuku, featuring groups such as Jūrō Karasawa’s Jōkyō Gekijō and Shūji Terayama’s Tenjō-zashiki. In 1967, Jūrō Karasawa erected a red tent on the grounds of Hanazono Shrine and began staging performances that transcended the boundaries of traditional theaters. Also in that same year, the “Scorpio” (named by Yukio Mishima) opened in the basement of Shinjuku Bunka, becoming a venue for film screenings, theater performances, and gatherings of cultural figures. With jazz cafes and restaurants clustering around it, the entire city of Shinjuku functioned as a vast stage that linked film and avant-garde art.

銃列を離れて訴えた青年 北原泰作と御兵式場での直訴 1927年

北原泰作は、岐阜県出身の部落解放運動家で、水平社運動に参加していた。1927年11月19日、岐阜歩兵第68連隊の二等兵として、名古屋で行われた陸軍特別大演習後の閲兵式に参加した北原は、隊列を離れ、昭和天皇に軍隊内部の部落差別撤廃を訴える直訴状を差し出そうとした。北原は、軍隊ではすべての兵士が同じ天皇の兵士とされながら、現実には出身地や被差別部落出身者に対する差別が残っていることに強い矛盾を感じていた。直訴の際、北原は奉書に記した訴状を掲げて天皇の馬前近くまで進んだが、将兵に取り押さえられ、憲兵に引き渡された。その後、軍法会議にかけられた。この事件は、軍隊という厳格な組織の内部から差別の存在を公然と告発した行動として、水平社運動と戦前の部落解放運動史を考えるうえで重要な出� ��事となった。

小豆の煮える音を聞く 秋田の小豆占いと柳田国男 明治期-昭和前期

柳田国男は、小豆を単なる食料ではなく、人々が季節の節目や農作の行方を読み取るための特別な食物として捉えました。秋田県には、正月などに小豆を煮て、その煮え方や状態から一年の作柄や吉凶を占う習俗があったとされます。こうした小豆占いでは、日常の食物が神意や未来を知る媒介へと変わります。豊作を願う農村社会にとって、作柄は生活そのものを左右する重大事であり、占いは不確かな未来に意味を与える知恵でもありました。 柳田の小豆論は、一地域の珍しい風習を集めるだけではありません。赤い色を持つ小豆が、正月、祝い、厄除け、祭礼など特別な日に繰り返し登場することから、日本人が小豆にどのような力を感じてきたのかを探ろうとしています。実際、柳田の小豆の話は1942年に発表され、のちに定本柳田国男集第14巻へ収録されました。国立国会図書館の書誌でも、同巻に小豆の話が収録されていることが確認できます。 秋田では、現在も小豆を使った赤飯などの食文化が伝えられており、仙北市の郷土料理資料では、秋田独特のてんこ小豆を使う習慣も紹介されています。小豆は食卓の材料であると同時に、祝い、願い、予兆を結び付ける民俗的な記号だったと考えられます。

Memories of Taro Root in Mountain Fields: The Dining Tables and Daily Life of Kumano-gawa Village, Meiji to Showa Periods

In Kumano-gawa Village, due to the terrain—with deep mountains and little flat land—a diet that did not rely solely on rice has developed. Historical records indicate that taro was treated as a vital food source and, in areas where rice was scarce, served as the mainstay of daily meals. Barley rice and tea porridge were also common on the table, and the practice of using limited grain resources efficiently to stave off hunger was deeply rooted in the daily life of this mountain village. Tea porridge is also significant when considering Kumano’s food culture. According to the Ministry of Agriculture, Forestry and Fisheries, in regions with limited rice-growing areas—such as the Kumano mountainous region—tea porridge (known as “oka-san”), made by cooking rice with bancha or other types of tea, was widely consumed. People did not merely stretch the rice with water; they also added taro and sweet potatoes to make the meal more filling. This was not only a frugal dish born of the region’s harsh conditions but also a culinary culture that evolved into a distinct local flavor. Records from Wakayama Prefecture also confirm that the practice of adding taro to tea porridge was passed down. Since the Kii Peninsula is largely mountainous and arable land was limited, people supplemented their diet by combining rice with tubers and barley. The taro from Kumano-gawa Village can be seen not merely as a side dish, but as a food that symbolizes the wisdom of people who adapted to the mountainous terrain to sustain their way of life.

紅テントの灯る街 花園神社と新宿の映画文化 1960年代-1970年代

花園神社周辺の新宿は、1960年代から1970年代にかけて、映画、演劇、ジャズ、若者文化が混じり合う独特の文化空間だった。映画館で作品を見るだけではなく、上映後に街へ出て、喫茶店や飲み屋を巡り、人と語り合うことまでが映画体験の延長にあった。1964年には紀伊國屋ホールが開場し、唐十郎の状況劇場、寺山修司の天井桟敷など、小劇場運動が新宿に広がった。1967年には唐十郎が花園神社境内に紅テントを張り、従来の劇場という枠を越えた公演を開始した。また、新宿文化の地下には同年、三島由紀夫が名付けた蝎座が開場し、映画上映や演劇、文化人の交流の場となった。周囲にはジャズ喫茶や飲食店も集まり、新宿という街全体が、映画と前衛芸術を結び付ける巨大な舞台のように機能していた。

Shinjuku, Blooming in the Darkness of the Movie Theater: Kazuko Shiraishi and the City of Film, 1950s–1960s

Kazuko Shiraishi frequently went to see movies in Shinjuku even during her student days at Waseda University. Shinjuku itself—not just the movie theaters, but also the shops and entertainment districts around Hanazono Shrine—is deeply intertwined with her memories of her youth. In her essays, she depicts the act of watching movies not merely as passive viewing, but as an experience that involves walking through the city, meeting people, drinking, and encountering chance events. Later in life, Shiraishi also interacted with film director Nagisa Ōshima; she mentions lending him her writings as reference material for his filmmaking and touches on her memories related to *The Shinjuku Thief’s Diary*. It becomes clear that Shinjuku was a place that connected people across the boundaries of literature, film, theater, and youth culture. Shiraishi, born in 1931, is a poet who published the poetry collection *The Town Where Eggs Shake* in 1951 while attending Waseda University. Further more, in the Shinjuku and Waseda areas, a culture of art-house cinemas—such as Waseda Shochiku, which opened in 1951—flourished, creating an environment where people could watch movies on a daily basis. By the late 1960s, Nagisa Ōshima’s *Shinjuku Thief Diary* had become one of the works symbolizing Shinjuku culture, intersecting with the avant-garde art and youth culture of the time.

After Leaving the Silver Screen: Setsuko Hara’s Retirement and Her Rise to Legend, 1963–2015

As one of the leading actresses of postwar Japanese cinema, Setsuko Hara appeared in films by directors such as Yasujirō Ozu and Akira Kurosawa, leaving a lasting impression on countless audiences. However, she disappeared from the film industry in the early 1960s and rarely appeared in public thereafter. This document describes how her silence following retirement actually made Setsuko Hara an even more special figure. By appearing in neither new films nor television—with only her past masterpieces being repeatedly screened—her image from her younger days became fixed in the minds of audiences, and the image of her in the movies lived on longer than the real person herself. Her absence from the public eye actually sparked greater interest, leading to a proliferation of reports and speculation about her current situation and daily life. In this way, Setsuko Hara became a legend—not merely as a former actress, but as a figure who symbolized the very memory of postwar Japanese c inema.

The Afterglow of a Revolution Across the Sea: Fusako Shigenobu and the Japanese Red Army, 1971–2022

In 1971, as the All-Japan Student Struggle Council movement began to wane, Fusako Shigenobu traveled to Lebanon, made contact with the Popular Front for the Liberation of Palestine, and organized the Arab branch of the Red Army Faction. In 1972, three members, including Kōzō Okamoto, carried out an attack on Lod Airport in Tel Aviv, resulting in numerous casualties. Subsequently, the organization adopted the name “Japanese Red Army” and waged armed struggles abroad, including the Hague Incident and the Kuala Lumpur Incident. According to the National Police Agency, Shigenobu was arrested in Osaka Prefecture in 2000 and declared the dissolution of the Japanese Red Army from prison in 2001. Shigenobu received a final sentence of 20 years’ imprisonment for his involvement in the Hague Incident and other crimes, and was released from prison in May 2022 after serving his sentence. The history of the Zengakuren generation, as recounted in the attached materials, includes the turning point when, following the failure of the university protests, some activists shifted from domestic activism to armed struggle abroad. The process by which a political movement founded on ideals crossed national borders and transformed into an organization characterized by violence and numerous casualties poses a weighty historical question for considering the trajectory of the movement that has continued since the late 1960s.

消えた毒のドラム缶 バーゼル条約への道 1976年-1992年

1976年、イタリア北部セベソのICMESA化学工場で事故が起き、猛毒のダイオキシンTCDDが周辺地域へ放出された。住民の避難や動物の大量死、汚染地域の除去作業が続き、ヨーロッパ社会に化学物質事故の恐ろしさを刻みつけた。WHO資料でも、事故後にクロロアクネなどの健康被害が確認されている。 さらに問題となったのが、汚染土壌の行方だった。掲載資料では、汚染土壌を詰めたドラム缶が国外へ運ばれる途中で1982年に行方不明となり、翌年フランスで発見され、1985年にスイスのバーゼルで焼却された経緯を紹介している。そして、このセベソ汚染土壌搬出事件を、有害廃棄物の越境移動規制を促した重要な契機として位置づけている。記事にはバーゼル条約の解説が収録されている。 ただし、バーゼル条約成立の背景はセベソ事件だけではない。バーゼル条約事務局によれば、1980年代に先進国からアフリカなどへ有害廃棄物が持ち込まれたことへの国際的反発が大きな直接要因となった。UNEPを中心に交渉が進み、1989年3月22日に条約が採択され、1992年5月5日に発効した。条約は有害廃棄物の発生抑制、適正処理、国境を越える移動の制限と管理を柱としている。 なお、1976年のセベソ事故そのものが直接生んだ制度としては、EUのセベソ指令がより明確である。1982年に導入され、危険物を扱う工場の事故防止、リスク評価、緊急対応を強化した。セベソからバーゼルへ続く歴史は、毒物を工場の中だけの問題ではなく、国境を越えて追跡し管理しなければならない問題へ変えた過程でもあった。

借金の嵐を笑い飛ばす 戦いすんで日が暮れて 1967年-1969年

1967年、佐藤愛子の夫で作家の田畑麦彦が手がけた事業が失敗し、多額の借金が残った。佐藤は債権者への対応や返済に追われ、その苛烈な経験をもとに戦いすんで日が暮れてを書いた。講談社によれば、作品は弱気な夫と巨額の負債を背負った妻が、休む間もなく奮闘する姿を、ユーモアとペーソスを交えて描く。 作品は1969年に単行本として刊行され、同年上半期の第61回直木賞を受賞した。日本文学振興会の受賞記録にも、佐藤愛子、戦いすんで日が暮れて、講談社と記録されている。佐藤の経歴を扱う資料にも代表作として掲げられており、後年の血脈や九十歳。何がめでたいへ連なる、逆境を怒りと笑いに変える作風の重要な出発点となった。 実生活では夫の会社倒産、離婚、借金返済が重なったが、佐藤はそれを単なる悲劇として閉じなかった。弱さや身勝手さを含む人間の姿を笑いの中に置き、苦境そのものを文学へ変えた。題名には戦いが終わった後の疲労と静けさが漂うが、その背後には、生活を立て直そうとする一人の女性の粘り強さが刻まれている。

Walking Through the Memory of the Earth: The Kitahira Site and Seburiba—Jomon Period–2005

The Kitahira Site, located near the spot that Old Man Asada identified as Seburiba, is regarded as a key clue for archaeologically verifying local folklore. Surface collections from this narrow, terraced area have yielded Jōmon-period flaked arrowheads and pottery shards, Late Yayoi-period pottery, and even ceramics from the Nara, Heian, and Muromachi periods, indicating that human activity persisted at this site over a long period. The figure shows stone tools, earthenware, Sue ware, and pottery arranged side by side, and the author examines these artifacts, including those collected during past field surveys. On the other hand, the Seburiba site itself, as identified by Asada, has been converted into farmland, and no excavation surveys have been conducted there; therefore, the artifacts from the Kitahira Site do not in themselves prove the existence of a Sanka lifestyle. The author is attempting to carefully verify traces of a nomadic lifestyle by combining interviews with on-site surveys. It should be noted that a site of the same name, the Hokuhira Site, is registered online in Misaki Town, Kume District, Okayama Prefecture; however, this site is considered a Mid-Yayoi period settlement, and it cannot be confirmed that it is the same location as the Hokuhira Site mentioned in the text. It is safer not to draw a connection based solely on the name.

Laughing Off the Storm of Debt: The Battle Is Over, the Sun Sets, 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 *The Battle Ends as 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 for the first half of that year. The Japan Literature Promotion Association’s award records list the winner as Aiko Sato, *The Day Ends After the Battle*, published by Kodansha. 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 hardship itself into literature. While the title evokes the exhaustion and stillness that follow the end of a battle, behind it lies the tenacity of a woman striving to rebuild her life.

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.