nntsuzu/KFTT huggingface dataset:
English: Some time ago, adults joined this festival but accidental injury or death were repeated.
Japanese: かつては、大人達がこれに参加していたが、負傷や死亡も相次いでいたとのこと。
English: In a narrow sense, "kangaku" refers to traditional keigaku (study of Keisho in Confucianism) and the study of old documents during the period of Qin dynasty as opposed to Neo-Confucianism in the Song and Ming dynasties; in a broad sense, it is a general term for studies of knowledge imported from China, as opposed to Western learning and the study of Japanese classical culture.
Japanese: 漢学（かんがく）とは、狭義で言えば宋明理学に対する伝統的な経学及び清代の考証学の事を指し、広義では洋学・国学に対する中国伝来の学問の総称。
English: Before the mid-Edo period, outstanding science of the foreign countries generally were brought to Japan through China in the form of Chinese books, and for this reason, all of the scientific researches of foreign origins were regarded as 'kangaku.'
Japanese: 江戸時代中期以前においては、外国の優れた学術は漢籍の形で中国から入ってくるのが一般的であったため、外来の学術研究は全て「漢学」と考えられてきた。
English: However, when form of studies referred to as western studies (Dutch studies) which sought to directly obtain knowledge through books from Europe started, the traditional way of studies (studies typical of Japan as well as studies introduced from China) had come to be referred to as 'koukangaku' to distinguish from western studies.
Japanese: ところが、ヨーロッパの書籍から直接知識を得ようとする洋学（蘭学）が出現するようになると、従来の学問（日本固有の学術及び中国伝来の学術）はこれと区別する意味で「皇漢学（こうかんがく）」と称されるようになる。
English: However, there was a strong movement to reject kangaku, as those who studied kokugaku (the study of Japanese classical literature) and Shinto such as Norinaga MOTOORI claimed that it was kangaku which was corrupting the Japanese spirit, which had been cultivated since ancient times, and the name 'kokugaku' fell into disuse and became separated from kangaku.
Japanese: ところが本居宣長など国学や神道を研究する人々は漢学（からまなび）こそ古来日本以来の精神を毒しているとこれを排する動きが強まり、「皇漢学」という呼び名も次第に廃れて国学と漢学は分離されるようになった。
English: From the Meiji period, the studies of old form of Confucianism declined and was replaced and restructured as 'shinagaku' which incorporated studies of western studies.
Japanese: 明治時代以後になると古い儒学系統の学問は衰微して、代わって西洋の学問研究を取り入れた「支那学」として再構築されるようになる。
English: However, because Chinology had been developed mainly in Kyoto Imperial University, the term 'kangaku' was still used by members of the University of Tokyo who were opposed to Kyoto Imperial University and ultranationalists who were trying to establish a distinction between the China from which ancient Japan had imported its civilization and the China of that time, which had been almost entirely colonized by more powerful countries.
Japanese: ところが支那学形成の中心が京都帝国大学であった事からこれに反発する東京大学関係者や古来日本が文明を取り入れた中国と当時の列強による半植民地状態の中国を意図的に分離を図る国粋主義者の中には依然として「漢学」という呼称を用いる者があった。
English: After the war, chinology and kangaku were collectively referred to as "chugokugaku" (Chinese studies), as it is regarded inappropriate to use the term of 'china.'
Japanese: 戦後、「支那」という呼称を宜しきとしない風潮によって支那学も漢学も一括して「中国学」と呼称されるようになる。
English: Furthermore, even nowadays, the term "kanbungaku" is used in general when Chinese literature before the early modern times is studied.
Japanese: なお、現代でも近代以前の中国文学を専門として研究する場合には、「漢文学」という呼称が用いられるのが一般的である。
English: "Bunjinga"refers to the paintings that bunjin (literati) painted as their pastime, as opposed to paintings by the professional artists in China (Intaiga, a type of Chinese painting associated with the Imperial Court Academy).
Japanese: 文人画（ぶんじんが）とは、中国において職業画家の画（院体画）に対し、文人が余技にが描いた絵画のことをいう。
English: He criticized professional painters for focusing only on techniques, and highly appreciated paintings that conveyed the mind and spirit of the painters.
Japanese: 職業画家を技法のみに拘泥するものと批判し、画家の内面性・精神性が表現されている絵画を高く評価した。
English: According to Dong Qichang, the history of Intaiga for the most part, overlaps with that of Hokusoga (the northern school of Chinese painting), and the history of Bunjinga for the most part, overlaps with that of the southern school of Chinese painting.
Japanese: 董其昌によれば、院体画の系譜は北宗画（北画）とほぼ重なり、文人画の系譜は南宗画（南画）とほぼ重なる。
English: His opinion made a great influence on the history of Chinese paintings, but his theory was structured on much arbitrariness, for Dong Qichang's claims were also aimed to attack the Hokusoga that stood in opposition.
Japanese: この見解は中国絵画史に大きな影響を与えたが、董其昌の主張は対立する北宗画を攻撃する狙いもあり、その理論の組み立ては恣意的な点が多い。
English: Prominent painters of Bunjinga who lived during the Edo period include IKE no Taiga, Buson YOSA, Buncho TANI, and Kazan WATANABE.
Japanese: 江戸時代の文人画の代表者には、池大雅、与謝蕪村、谷文晁、渡辺崋山など。
English: From the Meiji period, Bunjinga declined as Ernest FENOLLOSA and Tenshin OKAKURA who were leading the world of fine art had low opinions, and no remarkable painters besides Tessai TOMIOKA grew out.
Japanese: 明治時代以降は、美術界を主導するアーネスト・フェノロサや岡倉天心から低く評価され、富岡鉄斎以外めぼしい画家が生まれず衰退した。
English: It supposedly started when Danjuro ICHIKAWA (first generation) put a make-up with lipstick and charcoal as the role of hero Kinpira SAKATA, who was the son of SAKATA no Kintoki.
Japanese: 市川團十郎(初代)が、坂田金時の息子である英雄坂田金平役の初舞台で紅と墨を用いて化粧したことが始まりと言われる。
English: The classical Chinese play or Beijing opera also had unique kumadori called renpu and both had the similarity in stressing personality
Japanese: 中国古典劇の京劇にも瞼譜（れんぷ）と呼ばれる独特の隈取があり、両者には色彩によって個性を強調するなど共通点が多い。
English: Kumadori was supposedly created after the first generation Danjuro ICHIKAWA took a hint from dolls of Joruri (dramatic narrative chanted to a samisen accompaniment), and painted in order to stress the blood vessels and muscles of face, and Kumadori and color differed depending on the role.
Japanese: 隈取は初代の市川団十郎が浄瑠璃の人形にヒントを得て創作したものといわれ、顔の血管や筋肉を誇張するために描かれたもので、役柄により、施される隈取や色が異なる。
English: The 'ippon-guma' (one line red shadow of kabuki makeup) was strong but calmer than thick crimson 'sujikuma' (striking style of red facial make-up), and they were both used for a hero who was young and filled with strong morals and used separately depending on the scene in one play.
Japanese: 最も荒々しい紅色の太くはっきりした「筋隈」やそれよりは大人しいが力強い「一本隈」は、共に若く正義感にあふれた英雄に用い、一つの劇で場面によって使い分けることもある。
English: Mukimi' that painted crimson along the lower eyelid is used for beautiful male that seemed to resemble flowing water even if it contained the same crimson color.
Japanese: 同じ紅色系統でも水も滴るような美男子には下瞼に沿って紅を塗る「むきみ」を用いる。
English: Black and navy was used for the make-up of 'Kugeare' (wild kuge (noble)), who was the villain (FUJIWARA no Sihei of "Sugawara Denju Tenarai Kagami") that schemed to overthrow the government, female that turned into ogre with jealousy ('hannya-guma' (makeup like hannya, female demon) (Shirabyoshi (a women who play Shirabyoshi (Japanese traditional dance)) Hanako of "Musume Dojoji" (Young Woman) whose real name was Kiyohime (Princess Kiyo)), female monster 'kijo-kuma' (makeup like a female ogre) (female ogre that gathered autumn leaves or ogre that disguised itself as the female of Modori-bashi bridge, 'borei-guma' (ghost make-up) that expressed the grudge of crazed evil spirit (TAIRA no Tomomori of Funa Benkei) that roughness equaled that of crimson colored Kumadori, but used on villains who were cruel or used spiritual power.
Japanese: 黒・藍色系統では、「公家荒」と呼ばれる国家転覆を狙う大悪人（菅原伝授手習鑑の藤原時平）の隈や、嫉妬の鬼と化した女性の「般若隈」（道成寺の白拍子花子、その本性は清姫）、女妖怪に使う「鬼女隈」（紅葉狩の鬼女紅葉や戻橋の女に化けた鬼など）、荒れ狂う悪霊の怨念を表した「亡霊隈」（船弁慶の平知盛）など猛々しさは紅色の隈取に匹敵するが、冷酷であったり妖力を使う悪役のものである。
English: 代赫色(brown) is used in ancient and cruel roles such as Tsuchigumo (The Demon Spider), but had less variety.
Japanese: 代赫色（茶色）は土蜘蛛など、老獪で非情な役に用いられるが種類は少ない。
English: As shown above, it had certain structure, but Kumadori was different for each individual since actor applied it himself.
Japanese: 以上のように大体の型はあるものの、隈取は役者が自分で書き入れるものなので一人一人形が違う。
English: Some Kabuki fans bring kempon (a painting or calligraphy executed on silk) to the back stage and make actors to copy their own kumadori and make it into their collection.
Japanese: 歌舞伎のファンの中には楽屋に絹本を持ち込んで、役者に隈取を写し取ってもらってコレクションする人もいる。
English: The 'Kumadori' of kabuki assumed the human face shape and generally used only for humans ('kaen-guma' (makeup like flames) of Genkuro Gitsune that appeared in Yoshitsune Senbonzakura (Yoshitsune and One Thousand Cherry Trees) represented not animal but spiritual power), but there were several kumadori that assumed the animal role starting with the Kumadori of Goku SON in 'renpu' of Chinese opera.
Japanese: 歌舞伎の「隈取」は人間の顔かたちを想定したものなので基本的には人間にしか用いない（義経千本桜に登場する源九郎狐の「火炎隈」などもあるが動物の隈取というより神秘的な力を現す隈取）が、京劇の「瞼譜」は有名な孫悟空の隈取をはじめ動物役を想定した隈取が何種類も存在する。
English: Asian stage make-up including renpu uses not only red and black but green and yellow to stress out not the expression, but focuses in on the abnormality (in positive and negative definition) and functions as a mask of a masquerade.
Japanese: 瞼譜を含め、アジアの舞台化粧は赤や黒のほかにも緑や黄色などが加わり、表情を強調するものというより異常性（プラスの意味にもマイナスの意味にも）を際立たせることに主眼が置かれ、そのルーツである仮面劇の仮面のような役割を果たす。
English: The first Kumadori was done by first generation Danjuro ICHIKAWA after taking a hint from a doll to paint in crimson and charcoal in order to perform theatrical adaptation of a script of ningyo joruri (traditional Japanese puppet theater) as the main character Kinpira SAKATA.
Japanese: 初代市川団十郎が坂田金平を主人公にした人形浄瑠璃の台本を舞台用にしたものを上演する際、人形からヒントを得て、紅と墨で描いたのが最初の隈取であった。
English: Although the validity is uncertain, but 'blur' technique unique to Kumadori was created by second generation Danjuro ICHIKAWA after observing the peony flower, and Kumadori became more refined with time since then.
Japanese: 真偽は定かではないが隈取の特徴である「ぼかし」の技法は、二代目市川団十郎が牡丹の花を観察して考案したものと言われ、以後の隈取はよりいっそう洗練されていくことになる。
English: Aragoto (Kabuki play featuring exaggerated posture, makeup, and costume) of Edo referred to Buddhist statue such as Nio Zo (statue of Deva Kings) that expressed muscles and refined facial expression of the noh mask.
Japanese: 江戸の荒事の中で隈取が発展する際に参考とされたのが、仁王像などに代表される仏像の誇張された筋肉表現と能面の洗練された表情の表現であった。
English: On the other hand, Kumadori began to focus on allure by being influenced by play with a script that focused on love affairs of Kamigata (Kyoto and Osaka area).
Japanese: 一方、上方の和事を中心とした凝った筋書きの芝居の影響によって、隈取も荒々しいだけでなく色気を意識するようになる。
English: Sukeroku HANAKAWADO, who was the main character of 'Sukeroku' that represented attractive Kabuki male figure had alluring Kumadori of 'Mukimi' is currently known as strong male of Edo, but was originally a character from Kabuki at Kamigata.
Japanese: 歌舞伎の色男の代表格「助六」の主人公で「むきみ」の隈取も色っぽい花川戸助六は、現在こそ威勢のいい江戸男として知られるが、もともと上方歌舞伎出身のキャラクターである。
English: Many Kumadori that still passed on today was left by Shinjuro ICHIKAWA, who was the master disciple of ninth Danjuro ICHIKAWA.
Japanese: 今日伝わる隈取の多くは九代目市川團十郎の高弟、市川新十郎により残された。
English: Shinjuro, who knew well of Kumadori in all ages and countries wrote a research text "Kabuki Kumadori" with an assistant from Masamitsu OTA.
Japanese: 古今東西多くの隈取を熟知していた新十郎は、太田雅光の協力で研究書『歌舞伎隈取』を著した。
English: According to the words of Hidejuro NAKAMURA, 隈 (Kumadori) appeared on the face of dying Shinjuro and did not disappear despite washing many times.
Japanese: 弟子の中村秀十郎の証言では、臨終時の新十郎の顔に隈が浮かび現れいくら洗っても消えなかったという。
English: "Chinzei Yumeharizuki" (The Crescent Moon) was a book written by Bakin KYOKUTEI and illustrated by Hokusai KATSUSHIKA.
Japanese: 『椿説弓張月』（ちんぜいゆみはりづき）は、曲亭馬琴作・葛飾北斎画の読本。
English: Its correct name was "Chinzei Hachiro Tametomo Gaiden Chinsetsu Yumiharizuki" and was a romantic novel that focused on MINAMOTO no Tametomo (Chinzei Hachiro Tametomo), who was the busho (Japanese military commander) strong with arrows and appeared in "Hogen Monogatari" (The Tale of the Hogen War) that rewarded the good and punished evil and filled with sheer nonsense.
Japanese: 正しくは『鎮西八郎為朝外伝椿説弓張月』で、『保元物語』に登場する強弓の武将源為朝（鎮西八郎為朝）を中心とする勧善懲悪・荒唐無稽の伝奇小説。
English: The first edition was published in 1807, and a complete five editions consisting of 29 volumes of prequel, sequel, second sequel, shui (collect), and remaining volumes were completed in 1811.
Japanese: 1807年（文化(元号)4年）にまず前篇が発刊、後篇、続篇、拾遺、残篇と全5篇、29冊で1811年（文化8年）に完結。
English: It was originally planned to finish a prequel and sequel, but completion was extended due to its unexpected popularity and the fact that imagination of Bakin improved with time.
Japanese: 本来前後篇で終わらせる予定だったが、予想以上に反響が大きかったことと馬琴の想像の筆が伸びたことから、完結が延びた。
English: The story was divided into the prequel that depicted the deeds of Tametomo exiled to Izu-oshima Island almost according to the truth and the reconstruction of Ryukyu Kingdom by Tametomo that travelled there in sequel that vastness and unexpected development especially in later volumes brought popularity to the later edition.
Japanese: 話は大きく分けて、伊豆大島に流罪になった為朝の活躍をほぼ史実に添って書いた前篇、琉球に渡った為朝による琉球王国再建を書いた後篇があり、特に後篇のスケールの大きさと破天荒な展開が好評を博した。
English: It is believed to have been affected greatly by making MINAMOTO no Tametomo considered to be a tragic hero just like MINAMOTO no Yoshi as the main character and having Ryukyu which was treated as a foreign country back then as a setting.
Japanese: 源義経のように悲劇の英雄と扱われていた源為朝を主人公にしたこと、当時異国の地だった琉球を舞台にしたことが大きいと思われる。
English: The format greatly influenced by classics such as "Hogen Monogatari" (The Tale of the Hogen War) and "Taiheiki" (The Record of the Great Peace) that told of the bravery of Tametomo, and Chinese Hakuwa Shosetsu (Chinese novel) such as "Suikokoden" (The later water margin) (It was the sequel to "Suikoden (The Water Margin)."
Japanese: 構成は、『保元物語』や『太平記』など為朝の武勇を伝える古典作品はもちろんのこと、琉球のあたりになると『水滸後伝』（『水滸伝』の後日談。
English: Ri Shun became the Thai king) and "Teki Sei Engi" (狄青演義).
Japanese: 李俊がタイ王国王になる）や『狄青演義』など中国の白話小説の影響が強くなる。
English: However, she was prosecuted by the evil monarch of her father, King Shonei, and risks her life.
Japanese: しかし父の暗君・尚寧王（しょうねいおう）から迫害を受け命を狙われる羽目になる。
English: Their father was killed by the conspiracy of cunning retainer Riyu, and their pregnant mother Niigaki was killed and infant taken away by Kumakimi while trying to protect her and escape from the pursuers.
Japanese: 奸臣・利勇（りゆう）の策略により父を殺され、追っ手から身重の母・新垣（にいがき）をかばいながら逃げる途中、阿公により母を殺され胎児を奪われる。
English: She helped with the conspiracy of Riyu, attempted to deceive Nuiwanyo, steal the infant of Niigaki to make him into a crown prince but….
Japanese: 利勇の陰謀に加担し、寧王女を陥れようとしたり、新垣の胎児を奪い皇太子に立てるなどするが…。
English: He manipulated Queen Chofu no Kimi and cunning retainer Riyu, and sweet talked into killing Royal Princess Nei and Mo Kokutei, and eventually killed the king and Queen Chufu to put himself on throne.
Japanese: 王妃中婦君（ちゅうふのきみ）や奸臣利勇を操り、王をそそのかし寧王女や毛国鼎を殺し、しまいには王や中婦君らをも皆殺しにし、王位につく。
English: It was a work that brought Bakin success, drawn as the busha (samurai) illustrations, adapted into Kabuki, and received the popularity of a general public back then.
Japanese: 馬琴の出世作であり、武者絵に描かれたり、歌舞伎化されたりと、当時の大衆の支持を得た。
English: "Hakkenden" is currently more famous, but film adaptation of "Hakkenden" partially diverts to it, and the series of doll play "Shin Hakkenden" (The new story of eight dog samurai) borrowed the setting and the main characters of "Yumihari zuki" (a crescent moon).
Japanese: 現在では『八犬伝』と知名度が逆転しているが、時折『八犬伝』が映像化される際に一部流用されることがあり、NHKの連続人形劇『新八犬伝』の後半では『弓張月』の設定と登場人物を借用している。
English: The new Kabuki called "Chinzei Yumiharizuki," written by Yukio MISHIMA was first performed in 1969.
Japanese: 1969年（昭和44年）には、三島由紀夫作の新作歌舞伎『椿説弓張月』が初演されている。
English: "New Yumiharizuki" (Volume 1 and 2 by Poplar Publishing Co., Ltd.) rewritten in a modern style by Nobuyuki MITAMURA also exists.
Japanese: また、三田村信行が現代風に書き直した『新編弓張月』(上下巻、ポプラ社)も存在する。
English: There is a translated version by Yumie HIRAIWA (complete 1 volume) available currently from Gakken M Bunko.
Japanese: 翻訳本で現在入手可能なものには、学研M文庫から出ている平岩弓枝訳（全1巻）がある。
English: Classification of Sake in the Liquor Tax Act is a general classification system of sake under the Liquor Tax Act, which long existed in Japan from 1940 to 1992.
Japanese: 日本酒級別制度（にほんしゅきゅうべつせいど）とは、昭和15年（1940年）から平成4年（1992年）まで日本において長らく存在した、日本酒の酒税法上、ならびに一般的な分類体系である。
English: When the Sino-Japanese War broke out in 1937, the supply of rice and sake to be sent to soldiers at war created chaos in the rice market.
Japanese: 昭和12年（1937年）に日中戦争が勃発すると、戦場の兵士へ送る米や酒の供給ゆえに米市場が混乱した。
English: Accordingly, sake made from rice turned into something disorderly, resulting in widespread of yami zake (illegal sake) or diluted sake such as Kingyoshu (a type of diluted sake described cynically because it is weak enough to let gold fish live in) which was produced by adding water to increase the volume.
Japanese: そのため米を原料とする酒も秩序のないものへと化していき、水を入れて量だけ増した金魚酒に代表される闇酒や薄め酒が横行するようになった。
English: In 1940, the government conducted an audit of sake distributed in the market to classify as 'Special class,' 'First class,' 'Second class,' 'Third class,' 'Fourth class,' and 'Fifth class,' based on alcohol content and quality of sake for the purpose of the reconstruction of sake market.
Japanese: そこで政府は昭和15年（1940年）酒市場の建て直しを図るため、市場に流通する酒を政府が監査し、含有するアルコール度と酒質などから「特級」「一級」「二級」「三級」「四級」「五級」に分類した。
English: The labeling based on this classification played a role as a certificate for the commercial distribution of sake products.
Japanese: この分類の表示が、商品である酒にとっては市販流通させてよいという認可証の役割を負った。
English: As the outbreak of the Pacific War accelerated the rice shortage, a liquor rationing system was introduced in 1943.
Japanese: 太平洋戦争の勃発により米不足に拍車がかかると、昭和18年（1943年）には酒類は配給制となった。
English: After Japan was defeated in World War II, the rationing system was abolished and the liberalization of alcohol sales was initiated in 1949.
Japanese: 敗戦後、昭和24年（1949年）に配給制が解かれ酒類販売の自由化がなされた。
English: Later, the classification system was practically stabilized into three categories: 'Special class,' 'First class,' and 'Second class,' in each of which the tax rate to be imposed on sake was determined.
Japanese: その後の級別制度は実質的に「特級」「一級」「二級」の三段階におちついていき、それぞれの級によって課せられる酒税の割合が定められた。
English: However, more and more people started questioning this system for the reason that the classification and taxation system based on alcohol content did not correspond to the quality evaluation of sake.
Japanese: しかし、アルコール度数に基づく級別・課税というシステムが、酒の品質の良し悪しと対応していないなどの理由で、この制度を疑問視する声がしだいに高まっていった。
English: Some sake brewers daringly refused to be bound by the government appraisal and classification system, and distributed sake as a type of good that was 'exempt from appraisal.'
Japanese: 蔵元のなかには、あえて政府の監査と級別制度の中に序せられることを拒否し、「無鑑査」として流通させるところもあらわれた。
English: In response to growing criticism, the government began to seek other quality-focused classification system to replace the Classification of Sake in the Liquor Tax Act, and in 1990, introduced a new sake classification composed of nine different class names such as 'Futsushu (standard sake)' and 'Tokutei meishoshu (special designation sake),' which was tentatively utilized in combination with the traditional classification system in the earliest years.
Japanese: 批判が高まってきたのを受けて、政府は日本酒級別制度に替わりうる品質本位の分類体系を模索し始め、平成2年（1990年）から「普通酒」「特定名称酒」など9種類の名称からなる日本酒分類を導入し、当初は旧来の級別制度と暫定的に併用した。
English: During this transition period, consumers were greatly confused by the collapse of the traditional selection standard, and under the original standard introduced by sake brewers, the new class names, 'tokusen (specially selected),' 'josen (highly selected),' and 'kasen (honorably selected),' which were equivalent for the old class names, 'Special class,' 'First class,' and 'Second class,' respectively, appeared and widespread.
Japanese: この移行期には、従来の選択基準が崩れたために消費者のとまどいも大きく、酒造メーカー独自の基準による「特級」「一級」「ニ級」という旧級名にそれぞれ対応させた「特撰」「上撰」「佳撰」という名称が登場し、広く使われたりもした。
English: As of 2006, there were still so many sake brands remaining with those class names on the label.
Japanese: 2006年現在もそうした名称をラベルに残すブランドも、いまだ多く存在する。
English: In contrast to the classification system based on alcohol content, the current classification based on the specific class names can be regarded as a guarantee of a certain level of quality under its classification standard; however, it cannot prevent brews which are not processed for optional application from being distributed as lower grade of special designation sake.
Japanese: 現行の特定名称による区分は、アルコール度数による級別制度と異なり、その区分基準によってある一定の品質を保証していると捉えることができるが、任意の申請を行わない醸造酒がより下位の特定名称酒として流通することを妨げるものではない。
English: Since the new classification system was considered to have gradually widespread among consumers in general, the Classification of Sake in the Liquor Tax Act was completely abolished in 1992.
Japanese: 新しい分類体系が消費者一般に徐々に浸透したものと見なされることに至ったため、日本酒級別制度は平成4年（1992年）に完全に撤廃された。
English: As compared with the time when the old classification system was still effective, the optional entries such as brand name of the rice and area of production based on the standard that regulates the method of manufacturing and quality labeling of refined sake issued by the National Tax Administration Agency, as well as various information on the rice-polishing ratio, preparation method, and bottling method, are nowadays listed on the label in order for consumers to evaluate the product information and select their product on their own.
Japanese: 現在では、級別制度のあったころに比べて消費者が自分で商品情報を見極めて選択できるように、原料米名、産地名など、国税庁による日本酒国税庁の清酒の製法品質表示基準による任意記載事項を初めとして、精米歩合、仕込み方、瓶詰めの仕方など多様な情報がラベルに表示されている。
English: Although this goes with the times of information disclosure, if consumers are not familiar with sake to an extent, they will never be able to decipher the information and understand what type of sake it is; some people eventually point out that this is one of the factors associated with consumers' withdrawal from sake.
Japanese: これは情報開示という時代の流れには沿うものであるが、逆にある程度日本酒に詳しい人でないと、情報を読みこなすことができず、それがどういう酒であるのかがわかりにくくなり、ひいては消費者が日本酒から離れていった一因になったと指摘する声もある。
English: Sake of low alcohol concentration is the recently invented sake with the alcohol content of 13 percent or less, normally with around 8 percent alcohol.
Japanese: 低濃度酒（ていのうどしゅ）とは、近年開発されたアルコール度数13度以下、平均的には8度前後の日本酒のことである。
English: Low alcohol content was achieved through alcoholic fermentation, not by diluting the traditional sake with water.
Japanese: 従来の日本酒を水で薄めたものではなく、アルコール発酵の結果として低アルコール度となったものである。
English: In response to the changes in consumer-oriented products associated with a shift away from sake consumption and the closed images of the traditional sake regarded as a drink for stubborn and ignorant men, which were good reasons for experiencing the depression of sake consumption after the middle of the Showa period, sake brewers aimed to cultivate a new market that targets people who get drunk easily or women who had stayed away from sake all this time and invented this type of sake with the concept of 'low-alcohol.'
Japanese: 昭和中期以降の日本酒の日本酒消費低迷期の理由として、日本酒アルコール離れにともなった消費者の志向の変化や、従来の日本酒が頑迷な男性の飲み物という閉鎖的なイメージなどが挙げられたことを受けて、醸造業界では、それほどアルコールに強くない人や、いままで日本酒を敬遠してきた女性消費者などに、新たな消費者層の開拓をめざし、「低アルコール」の日本酒というコンセプトで考案された。
English: However, if diluting the traditional sake with just water, the sake would lose its overall flavor, so the development of a new brewing process and novel sake yeast were required to create the finished product with low-alcohol content as a result of the fermentation.
Japanese: しかし、従来の日本酒をただ水などで薄めたのでは、全体的な味質が崩れるので、発酵の結果として低アルコール度の仕上がりとなるような、今までにない日本酒製法や日本酒酵母の開発が求められた。
English: Sake is produced in the multiple parallel fermentation process, resulting in yielding a higher alcohol content of 20 percent or more.
Japanese: 日本酒は並行複発酵によって醸造されるため、結果として20度を超える高アルコールが生成される。
English: In most cases, sake is distributed after its alcohol content is lowered down to 14-16 percent based on the individual quality of sake.
Japanese: それを、それぞれの酒質にもとづいて14～16度程度にまでアルコール度を下げて流通させているものがほとんどである。
English: Sake with higher alcohol content than this alcohol content range is called sake of high alcohol concentration.
Japanese: このアルコール度帯より高いアルコール度を持つ酒のことを高濃度酒（こうのうどしゅ）という。
English: On the other hand, sake designed to have alcohol content less than 14 percent is called sake of low alcohol concentration.
Japanese: それに対して、14度未満のアルコール度数に仕上がるように商品設計された酒を低濃度酒という。
English: As of May, 2006, a definition based on the Liquor Tax Act was not established because it had only a short history as a product.
Japanese: まだ歴史が新しいために2006年5月現在、酒税法的な定義は確立されていない。
English: Additionally, the type of yeast used and the brewing process vary among sake brewers which produce sake of low alcohol concentration.
Japanese: また使用される酵母や製法も、低濃度酒を生産している酒蔵によりさまざまである。