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自分が読んで興味深く感じた英文記事を中心に取り上げる予定です

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風船と偽札が過去に登戸にあった

 


先週のJapan Times日曜版は風船爆弾をとりあげていました。70周年ということもあり、8月は戦争関連の話題が増えるかもしれません。

Winds of war: Japan’s balloon bombs took the Pacific battle to American soil
BY TIM HORNYAK
SPECIAL TO THE JAPAN TIMES
JUL 25, 2015

Words checked = [2120]
Words in Oxford 3000™ = [80%]


風船爆弾の存在はあまり知られていないのは、日本国内でも機密作戦だったことと、米国でも報道規制をかけていたことが原因としてあるそうです。

Japan’s balloon bombs remain little known 70 years after the end of World War II for several reasons. They were developed in strict secrecy by the Japanese military as its naval fleet suffered a crushing blow in 1944 and could no longer strike the United States. The U.S. government also censored virtually all news reports of balloons striking its territory, threatening to charge those who did disseminate such news with aiding the enemy. The War Department destroyed much of the evidence of the bombs. Finally, the bombs did very little damage compared to the scale of the conflict.

およそ2000語の長い記事で風船爆弾のことをまとめてくれていますが、この兵器は現在の明治大学生田キャンパスのある登戸研究所で開発されました。

But the explosive balloons were remarkable feats of engineering with a distinctly Japanese touch. Their development was centered at the Imperial Japanese Army Noborito Laboratory, located in the hills of Kawasaki southwest of Tokyo on land in Kanagawa Prefecture that now belongs to Meiji University. Known for its links to the military Unit 731, which experimented on human subjects in Harbin, the lab was charged with developing secret weapons and techniques to undermine enemy states, such as the production of counterfeit currency distributed in China. In response to the April 1942 “Doolittle Raid” on Tokyo — the first U.S. attack on Honshu — Japan wanted to hit back by any means possible. The army considered initial plans to load high-flying balloons with the rinderpest virus, but this was ultimately abandoned for fear of a terrible retaliation by the U.S. — which came anyway in the form of the atomic bombings of Hiroshima and Nagasaki.



風船爆弾はオレゴンで6人の死者を出しただけでなく、発射時の事故で6人の日本人もなくしたようです。オレゴン州の現場では今では記念碑が建っているようで、本当にYoutubeは便利です。

The Americans from Bly weren’t the only ones killed by the balloons. Six Japanese also died in an accident when releasing them, according to Akira Yamada, curator of the defunct Imperial Japanese Army Noborito Laboratory Museum for Education in Peace. The museum is housed in an original wartime laboratory building and has a small-scale replica of a balloon bomb as well as exhibits about how the washi paper was fabricated.
“The attacks by balloon bombs were adopted as a last-ditch measure,” says Yamada. “Imperial Japanese Navy aircraft carrier units didn’t have enough fuel to attack the American mainland, and the military didn’t have any long-range bombers that could do the job.”


Japan Timesの記事でも登場した明治大学平和教育登戸研究所資料館。2010年開館時に記事にもしていました。

Balloon bombs, poisons all in a day’s work at Noborito
BY MARK SCHREIBER
OCT 17, 2010

Japan Timesの日曜版を見て、生田まで行って資料館を見てきましたが、無料ながら、30ページもある資料冊子ももらえて、展示はしっかりしていて、DVDによる説明もあり、とても充実したものでオススメです。映画でやっていたドイツ軍に偽札造り。日本も中国に向けて実行していたなんて、この資料館のおかげで初めて知りました。。。

 

KenさんのShall We Dance?

 


Japan Times On Sundayで渡辺謙さんのミュージカルデビューについて記事にされていました。残念ながら英語力が足を引っ張っているというのです。Japan Timesは閲覧回数制限があるので、Kyodo Newsをシンガポールのサイトでご紹介。

Actor Watanabe slammed for poor English in New York musical reviews
PUBLISHED: 4:01 PM, APRIL 18, 2015
NEW YORK — Japanese actor Ken Watanabe received scathing remarks about his English skills, although not his acting, as critics reviewed on Friday (April 17) the opening of the Broadway musical The King and I in New York.

“His diction is not always coherent,” The New York Times said, while The New York Post called Watanabe’s English “rough”. “His solo turn, ‘A Puzzlement’, is just that — a garbled mess,” it added.
inline

The Daily News said the 55-year-old actor’s English “is a work in progress, so sometimes his lines and lyrics are blurry”.

The Wall Street Journal said: “His thick Japanese accent is something of a trial in ‘A Puzzlement’, but that’s the only thing slightly wrong with him.”


映画は撮り直しがききますが、ミュージカルはそうもいきませんから難しいのかもしれませんね。

Watanabe spoke about the challenge his English skills face in a musical the day after the first preview show.

“Movies are more forgiving of mistakes, whereas if you make too many mistakes in a musical, you won’t be able to reach the audience,” he told a press conference on March 13.
KYODO NEWS


Kyodoでも触れていたNew York Postの記事です。

How Ken Watanabe polished the King’s speech for ‘King and I’
By Michael Riedel
April 7, 2015

Cast members were panicky because they could hear those blue-haired ladies who make up much of the Lincoln Center audience saying things like “What’s he saying?,” “What kind of an accent is that?” and, my favorite, “Speak English — like Yul Brynner!”

Apparently, Watanabe was nervous about the language problem as well. And so he decreed about three weeks ago — after all, he is the King — that everybody on the show address him in English at all times.

‪Yul BrynnerとDeborah Kerr ‬のKing and IがYouTubeにありました。



まだ始まったばかりですから、今後の挽回を期待してたいです!!

“He has spent every day since previews speaking in English and in English only,” a source says. “Even at home, I think.”

Well, the Rosetta Stone crash course paid off. Watanabe can now be understood, for the most part, by everybody in the theater. The little old ladies have settled down. They are no longer puzzled by “A Puzzlement.”



 

TOEIC教材でもおなじみのドナさんがJapan Timesに

 
TOEIC関連の記事を書いていて、オーストラリア発音でTOEIC教材のナレーターを務めることがあるDonna Burkeさんが先週のJapan Times On Sundayに登場されていることを思い出しました。東海道新幹線の車内アナウンスは今でもドナさんの声なのでしょうか。

VOICES | 20 QUESTIONS
Donna Burke: ‘Being a late bloomer is way better than peaking and burning out early in life’

BY ELLIOTT SAMUELS
STAFF WRITER
DEC 13, 2014

Name: Donna Burke
Age: 50
Nationality: Australian
Occupation: Singer, voice actor, Tokyo Comedy store improvisor, business owner
Likes: Cats
Dislikes: People who don’t like cats

1. What first brought you to Japan? The chance to be a full-time singer and actor.
2. What’s keeping you here? I love Tokyo, the energy, people and the mountains nearby where I go to relax and recharge in our cabin in Minakami. There is no snow in Perth, Western Australia, and now I love skiing.
3. Who in Japan do you most admire? I admire parents who work, cook meals, clean up, plant gardens and care for pets without complaining or falling asleep at work. They are legends and superheroes who inspire me when I think I work too hard. I just think how exhausted I’d be if I was a parent. All you tired parents out there: you’re an inspiration!
5. What’s your favorite Japanese word or phrase? Ōhayō gozaimasu (good morning). I feel like a real J-hipster when I arrive at a studio saying ōhayō! It signifies that (a) I’m in the music biz, baby, and (b) you know that I know I’m in the music biz!


ドナさんのお気に入りの曲だそうです。



内容には関係ありませんが、質問4が抜けている気が(笑)最後の彼女のアドバイスはとても励みになりますね。

20. Do you have any words of advice for young people? Read lots of biographies and autobiographies. Don’t visit fortune tellers; write your own fortune. Look after your teeth — they can’t grow back. Early success is overrated — being a late bloomer is way better than peaking and burning out early in life.
 

翻訳の苦労は文芸作品でも同じ

 


太宰治の『女生徒』や川上弘美の『センセイの鞄』も訳されているAllison Markin PowellさんがJapan TimesのBook Review欄で紹介されていました。11月に中村文則の『去年の冬、きみと別れ』を“Last Winter We Parted”として英訳されています。上記の動画は小川洋子を訳したStephen Snyderへの聞き役をPowellさん務めています。

Fuminori writes noir, but not as we know it
Only show author if their role is equal to author
BY IAIN MALONEY
SPECIAL TO THE JAPAN TIMES

Powellさんが語る英語へ翻訳することの難しさはおなじみのものでした。文構造が違うこと、日本語は主語が省略されること、言葉の繰り返しを日本語は気にしないが、英語では工夫しないといけないことなど。

Crafting words with Osamu Dazai’s translator
Only show author if their role is equal to author
BY IAIN MALONEY
SPECIAL TO THE JAPAN TIMES

We’re all familiar with the concept of untranslatable words and ideas and I ask Powell if there are any specific difficulties with translating Japanese to English?
“Yes,” she says with a laugh. “The syntax is so different that it’s almost impossible to do a literal translation. The ideas that we express at the end of a sentence, Japanese will put at the beginning. You’re getting the information in a different order. When I’m translating it into English I have to decide what’s the most important part of this sentence, is it the information or is it the way that you’re getting it? That’s fun. I heard another translator describe his process as trying to recreate the way that he felt when he read the original and I aspire to that.”

“Then there’s the subject. In Japanese dialogue, who is speaking is often implied but not expressed. Another translator from Japanese said he was working with the author and he got who was speaking wrong. That happens to me, too. It’s embarrassing, but really, how are you supposed to know? Maybe the Japanese always know when they’re reading it but that’s a challenge. And there’s a lot of repetition. In English we vary the way we say things, we vary our use of nouns and verbs, we use synonyms but in Japanese you’ll find the same phrase repeated and I don’t think that works well in English. I think as a translator the most important skill you have is being able to write well in the target language. Obviously a facility with the source language is important but it’s not as important as being able to produce a finished product that reads well.”

最後に一番重要なこととしてI think as a translator the most important skill you have is being able to write well in the target language.と語っています。これもよくいわれることですね。。。(苦笑)
 

2月12日はテンプル大学に

 

Bending Adversity: Japan and the Art of SurvivalBending Adversity: Japan and the Art of Survival
(2014/01/02)
David Pilling

商品詳細を見る


年初に紹介させていただいたBending Adversityという本の書評が今週のJapan Timesに取り上げられていました。先週はEconomistの書評にも出ていましたね。

Bending Adversity: Japan and the Art of Survival
BY JEFF KINGSTON
SPECIAL TO THE JAPAN TIMES
FEB 1, 2014

書評に触れる前に最後にあった告知に目がいきました。David Pillingさんが来日されるようです。もしかしたら近々翻訳も出るのかもしれませんね。

There will be a book talk with David Pilling at Temple University Japan on Feb. 12. For more info, see

以下がテンプル大学でのトークショーの告知です。誰でも参加できるそうですから、都合のつく方は是非。トークショーはTOEICでもど真ん中のトピックですね。VenueやAdmissionsなどおなじみの語もあります。

Bending Adversity, a Portrait of Contemporary Japan
Date: Wednesday, February 12, 2014
Time: 19:30 (Door open at 19:00)
Speaker: David Pilling (Asia Editor of the Financial Times)
Venue: Azabu Hall, Temple University, Japan Campus
2F
Moderator: Jeff Kingston, Director of Asian Studies, TUJ
Admissions: Free
Language: English
Registration: If possible, we ask you to register by E-mail (icas@tuj.temple.edu) , but we always welcome participants even you do not register. / 参加登録はなしでも参加できますので、直接会場へお越しください。
Facebook: Check out this event's Facebook page for discussions.

David Pilling will talk about his newly released book Bending Adversity, a portrait of contemporary Japan. Throughout its history, Japan has weathered calamities from natural disasters such as the 2011 tsunami to crushing defeat in war and its more recent loss of economic vigour. Drawing on a wide range of contemporary Japanese voices and on the author’s own experiences living in Japan as a foreign correspondent for six years his book draws together many threads – economics, history, politics and contemporary reportage – together in one volume. Bending Adversity’s publication coincides with a surge of renewed interest in Japan, still the most important US ally in Asia, as its territorial disputes heat up dangerously with China, as it attempts a radical revival of its economy and as the Fukushima nuclear disaster rumbles on.

書評に戻りますが、トークショーで司会を務めるJeff Kingstonさんが書いています。悪くは書けないでしょうから、少し差し引いて読むといいかもしれませんが、5つ星をつけています。

The title of “Bending Adversity: Japan and the Art of Survival” refers to an old Japanese proverb about making the best of a bad situation or transforming crisis into opportunity. Japan is no stranger to crisis, or to monumental “bending,” but will the Great East Japan Earthquake in March 2011 serve as a catalyst for transformation and, if so, leading where?

David Pilling, former Tokyo bureau chief for The Financial Times (2001-08), has written a superb book on contemporary Japan that, better than any other I have read, manages to get the reader inside the skin of Japanese society. Full disclosure, Pilling is a good friend and I commented on early drafts of this astutely observed account. But trust me, this is a great read brimming with insights and should shoot to the top of your reading list.

書評でも触れていますが、フィナンシャルタイムズの看板をしょっているので幅広い取材が可能ですよね。近年出た日本についての本ではとてもよくできた本という評価には同意します。

Sensibly, Pilling refrains from declaring the recent cataclysm a game changer, instead introducing us to various Japanese and how they are responding. The yearning for greater certainty and security confronts perceptions that Japan risks even more without substantive reform. “Bending Adversity” benefits considerably from Pilling’s incredible access to a wide range of people from government, industry, academia and the arts, drawing heavily on their voices to deliver a convincing and nuanced portrait of Japan. It helps that he also shares his everyday encounters and personal impressions in crafting a colorful and rounded analysis, one that doesn’t shy from criticism, but also veers away from shrill harangue. It is evident that Pilling is keen on Japan, but it is not a naive embrace.

Natural disaster and China’s rise have jolted Japan out of cautious consensus as exemplified by “Abenomics,” but can it deliver substantive reforms? Pilling explains the logic of this high-stakes gamble, but one year on skepticism is growing. Neither Abenomics nor the 2020 Tokyo Olympics offer a magic wand, but Pilling’s reappraisal of the so-called Lost Decades in the 1990s and beyond usefully reminds us that Japan was never the basket case pundits were writing off and retains considerable strengths. He also notes how change, paradoxically, is a Japanese tradition, an incremental and gradual process the author elucidates very well. Although Heisei Era (1989-) Japan’s ongoing transformation has been fitful, Pilling draws our gaze to dramatic shifts in norms, values and practices and the emergence of a more dynamic civil society.

日本は急激にではなく、ゆっくりと変わっていくというDavid Pillingさんの主張をジャパンタイムズもEconomistもそのまま紹介しています。ただ、今は第三の開国という言葉は、冷戦後の1990年代にも聞いた言葉ですが。。。

Japan
Sitting tight
How the catastrophes of 2011 changed Japan
Jan 18th 2014 | From the print edition

Bending Adversity: Japan and the Art of Survival. By David Pilling. Penguin Press; 385 pages; $29.95. Allen Lane; £20. Buy from Amazon.com, Amazon.co.uk

THE triple disaster of earthquake, tsunami and nuclear accident that struck Japan on March 11th 2011 was an extraordinary and terrible event. According to the National Police Agency, it killed 15,856 people and left another 2,643 missing, shaking the confidence of millions. The visible horror of the tsunami and the dread of radiation and nuclear explosion provoked anxiety the world over, leading many to ask: what might this terrible event do to Japan?

The clues that emerged pointed in opposite directions. The stoicism and social solidarity of ordinary Japanese in the face of the disaster led to hopes of renewed unity. The speed with which railways, airports and factories were cleared and reopened, often beating initial estimates by months, led to predictions of renewed economic vigour.

まあ、Youtubeで動画を後ほどアップするでしょうから、無理して行く必要もないかもしれませんが、生で聞けるめったにない機会ですのでできるかぎり参加したいと思います。
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Yuta

Author:Yuta
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