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This study examines the relationship between spoken Japanese and Japanese subtitles, Chinese subtitles in the animated film Spirited Away. Subtitling, as a form of audiovisual translation, operates under time and space constraints that necessitate the selection, compression, and restructuring of linguistic information. While previous research has focused primarily on cross-linguistic subtitling (e.g., Japanese-to-English), the analysis of same-language subtitles remains largely unexplored. Five key scenes were analyzed: Haku’s advice to Chihiro, her parents’ transformation into pigs, the contract with Yubaba, the introduction of No-Face, and Chihiro beginning her work at the bathhouse. Comparative analysis of spoken lines and corresponding subtitles revealed consistent patterns: (1) the core meaning of utterances is preserved, (2) redundant, emotional, or pragmatic expressions are frequently omitted, and (3) subtitles are optimized to facilitate viewer comprehension, relying on visual and vocal cues to supplement omitted information. The findings demonstrate that Japanese subtitles function not merely as verbatim transcriptions but as a form of meaning-oriented linguistic reconstruction. This study contributes a novel perspective to subtitling research by highlighting the process of meaning optimization in same-language subtitles and its implications for audiovisual translation theory. Future research may expand this analysis across additional scenes or works, incorporate quantitative metrics, or investigate the effect of subtitles on viewer understanding and emotional perception.
This study examines the relationship between spoken Japanese and Japanese subtitles, Chinese subtitles in the animated film Spirited Away. Subtitling, as a form of audiovisual translation, operates under time and space constraints that necessitate the selection, compression, and restructuring of linguistic information. While previous research has focused primarily on cross-linguistic subtitling (e.g., Japanese-to-English), the analysis of same-language subtitles remains largely unexplored. Five key scenes were analyzed: Haku’s advice to Chihiro, her parents’ transformation into pigs, the contract with Yubaba, the introduction of No-Face, and Chihiro beginning her work at the bathhouse. Comparative analysis of spoken lines and corresponding subtitles revealed consistent patterns: (1) the core meaning of utterances is preserved, (2) redundant, emotional, or pragmatic expressions are frequently omitted, and (3) subtitles are optimized to facilitate viewer comprehension, relying on visual and vocal cues to supplement omitted information. The findings demonstrate that Japanese subtitles function not merely as verbatim transcriptions but as a form of meaning-oriented linguistic reconstruction. This study contributes a novel perspective to subtitling research by highlighting the process of meaning optimization in same-language subtitles and its implications for audiovisual translation theory. Future research may expand this analysis across additional scenes or works, incorporate quantitative metrics, or investigate the effect of subtitles on viewer understanding and emotional perception.
This study examines hanami, the traditional Japanese practice of viewing cherry blossoms, from the perspective of art theory and aims to clarify its structure as an aesthetic practice. Although hanami is widely recognized as an important seasonal event in Japan, academic discussions of the practice have generally been situated within the fields of folklore, anthropology, and cultural history. In these studies, hanami has primarily been interpreted as a cultural custom, a seasonal celebration, or a form of collective recreation. However, relatively little attention has been given to hanami as a form of aesthetic practice that can be analyzed within the theoretical frameworks of art theory and aesthetics. In response to this gap in the literature, the present study attempts to reinterpret hanami as a complex aesthetic phenomenon embedded in everyday cultural life. In order to achieve this goal, the study introduces perspectives from aesthetics, environmental aesthetics, and performance theory. These theoretical approaches allow the practice of hanami to be examined not only as a visual appreciation of nature but also as a dynamic interaction between environment, body, and social relations. Based on these perspectives, the study analyzes hanami through three interrelated elements: visual landscape, bodily practice, and social interaction. First, the visual dimension of hanami concerns the aesthetic appreciation of the cherry blossom landscape. The blooming cherry trees create a distinctive seasonal scenery that has long been celebrated in Japanese poetry, painting, and literature. The visual experience of the blossoms plays a central role in shaping the aesthetic atmosphere of hanami. However, this visual appreciation is not limited to the passive observation of nature. Rather, the landscape functions as a shared aesthetic environment that invites human participation. Second, hanami involves bodily practices through which participants physically engage with the environment. People gather under the cherry trees, spread picnic sheets, share food and drink, and spend time together in the open air. These bodily activities transform the act of viewing blossoms into an embodied experience. From the perspective of performance theory, hanami can therefore be interpreted as a performative event in which participants actively create an aesthetic situation through their collective actions. Third, hanami is also characterized by its social dimension. The practice usually takes place in groups of friends, families, colleagues, or community members. Through conversation, shared meals, and communal enjoyment of the scenery, participants create a temporary social space that fosters interpersonal relationships. In this sense, hanami functions not only as an encounter with nature but also as a form of social interaction that strengthens communal bonds. In order to further clarify the aesthetic structure of hanami, this study refers to the concept of “basho” (place) proposed by Kitaro Nishida. In Nishida’s philosophy, basho denotes a relational field in which various elements coexist and interact. Applying this concept to hanami, the practice can be understood as emerging within a specific “place” where natural scenery, human bodily presence, and social relationships are integrated. The cherry blossom landscape provides the environmental setting, while human participants bring bodily actions and social meanings into the space. Through the interaction of these elements, a unique aesthetic experience is produced. From this perspective, hanami should not be regarded merely as a seasonal custom or a simple appreciation of natural beauty. Rather, it can be interpreted as a comprehensive aesthetic practice that integrates nature, human embodiment, and social relations. By analyzing hanami within the frameworks of art theory and philosophy, this study highlights the artistic dimension of an everyday cultural activity. Ultimately, the research contributes to a broader understanding of how aesthetic practices can emerge within ordinary social life and demonstrates that cultural traditions such as hanami can be meaningfully examined within contemporary theoretical discussions of art and aesthetics.
From 2019 to 2021, a three-year project entitled “Comparative Study of Woman’s Social Participation in Japan and Mongolia” was conducted in collaboration with Showa Women’s University. Within the scope of this project, the translation into Mongolian of three books authored by Japanese writer Bando Mariko – “Women’s Dignity”, “Women’s Policies in Japan”, and “Woman’s Leaders 4.0” – was undertaken. During this work, it became apparent that “Japan’s Basic Act for Gender Equal Society” had been implemented on 23 June 1999. It was understood that this legislation arose from two primary circumstance: firstly, addressing labour shortages caused by a declining birth rate, and secondly, facilitating women’s smooth advancement into society. Twenty-five years have passed since the implementation of the Basic Law for Gender Equality. I undertook this research to ascertain how deeply this law has permeated contemporary Japanese society and to what extent it is recognized by the Japanese people. To this end, I visited Japan for one month, from 17 January to 17 February 2024, to conduct my investigation.
Энэхүү илтгэлийн зорилго нь дэлгэцийн бүтээл дэх Хадмал орчуулгын талаарх судлагдсан байдал болон хадмал орчуулга хийхэд баримталдаг зарчимууд (хязгаарлалт)-ын талаар ойлголт өгөхөд оршино. Учир нь хадмал орчуулга бол бусад орчуулгын төрлүүдээс ялгаатай байдаг. Хадмал орчуулгад цаг хугацааны хязгаарлалт, үсгийн тооны хязгаарлалт, дүрс зураглалыг зэрэгцүүлэх гэсэн үндсэн 3 дүрмийг баримтлах зайлшгүй шаардлага тавигддаг. Эдгээр хязгаарлалт нь соёлын онцлог бүхий үг хэллэг болон ойлголтуудыг тэр хэвээр нь орчуулан буулгах боломжгүй болгох тохиолдол багагүй гардаг. Тийм учраас орчуулагч хүн утгачилсан орчуулах, товчлон хураангуйлах, соёлыг дүйцүүлэх зэрэг орчуулгын арга барилыг хэрэглэн хадмал орчуулгыг хийх шаардлагтай болдог. Эдгээр 3 зарчим нь Хадмал орчуулгыг зүгээр нэг үгийн солилцоо төдий үйлдэл биш, дүрс бичлэг дуу авиа соёлын мэдээлэл гэсэн гурван чухал элемэнтийг нэгтгэн дамжуулах өвөрмөц онцлогтой орчуулгын үйл явц болгож байдаг. Орчуулагч хүн эдгээр зарчмыг хатуу чанд баримталж, эх зохиолын утга болон соёлын шинжтэй нарийн мэдрэмжтэй үзэгдлийг харааны болон танин мэдэхүйн нөхцөл байдал дотор нь дээд зэргээр тааруулан зохицуулж байдаг.
Япон улсад тулгараад буй нэгэн томоохон асуудал бол ажиллах хүчний дутагдал юм. Энэ тал дээр олон төрлийн арга хэмжээ авч хэрэгжүүлж байгаагийн нэг нь Азийн хөгжиж буй орнуудаас ажиллах хүчин татах хөтөлбөр билээ. Манай улсаас ч мөн Япон руу ажиллах хүчин илгээж байгаа бөгөөд энэ үйл явцыг судлан, гадаадаас ажиллах хүч татах тогтолцоо нь Монголд хэрхэн хэрэгжиж буйг тодруулах шаардлага байна гэж үзсэн тул судалгааны ажлынхаа сэдэв болгов. Монгол, Японы засгийн газар хоорондын зөвшилцлийн үр дүнд хэрэгжиж буй Монголоос гадаадад ажиллах хөтөлбөрийн дагуу ажиллагсад, тэр дундаа асаргааны чиглэлээр ажиллаж байгаа ажиллах хүчний талаарх бодит байдлыг тодруулахад оршино.
Япон улс ажиллах хүчний хомсдолоо шийдэх олон арга хэмжээ авч хэрэгжүүлж байгаагийн нэг нь эмэгтэйчүүдээ нийгмийн харилцаанд идэвхитэй оролцуулах үйл ажиллагааг явуулж байна. Үүний нэг нь 1999 онд Эрэгтэй эмэгтэйн хамтын ухамсарт оролцооны суурь хуулийг баталж, дагаж мөрдөж байгаа. Тус хууль батлагдсанаас хойш 25 жил өнгөрч байгаа өнөө үед японы нийгэм хэрхэн өөрчлөгдөж байгааг тандах зорилгоор санал асуулгын судалгаа хийсэн. Тус илтгэлд энэхүү судалгааны талаар өгүүлсэн.
Японы гэр бүлийн талаар хүүрнэсэн 30 үлгэр, домгийг цуглуулан, задлан шинжилж, тэнд байгаа хүүрнэлээс гэр бүлийн талаарх ойлголт, үзэл байримтлалыг гаргаж ирэхийг оролдсон болно.
Хүүрнэл бол хүн төрөлхтөний хувьд өөрийгөө үгээр иэлрхийлэх хамгийн чухал арга хэрэгсэл байсаар ирсэн ба үүний нэг төлөөлөл нь үлгэр мөн гэдэг талаар өгүүлэхийг зорьсон болно.
Хүүрнэл гэдэг нь хэлний бүтцийг ашиглан хоорондоо холбоо бүхий 2 болон түүнээс дээш өгүүлбэрээр онцгой содон үйл явал, сэтгэл хөдлөл зэргээ илэрхийлсэн өгүүлэмж юм. 1980-аад оноос хойш хүүрнэлийг бие даасан судлал болгож, хүний сэтгэцийн асуудлыг тодруулахад ашиглах зэргээр өргөн хүрээнд хэрэглэж байгаа талаар өгүүлнэ.
1930-аад оны үед Өвөрмонголын Сөнөд хошуу руу дүрвэн нүүсэн нэгэн монгол хүний 1945 онд БНМАУ-д буцаж ирсний дараах амьдралын тухай өгүүлнэ.
Чөлөөлөх дайны дараа БНМАУ-ын захиргаанд орохыг хүссэн өвөр монголчууд олноороо янз бүрийн байдлаар Монголын хилээр нэвтэрсэн байдаг ба тэдний БНМАУ дахь амьдрал ахуй хэрхэн өнгөрсөн талаар өгүүлнэ.
1900-1945 оныг хүртэл Японы захиргаанд шууд ба дам хэлбэрээр оршиж байсан Хөлөнбуйр ба тэнд амьдарч байсан Өвөр Монголчуудын талаар өгүүлнэ.
