nntsuzu/KFTT huggingface dataset:
English: If, instead of cooked salmon, fresh slices of raw salmon are placed on top of white rice along with salmon roe, then the dish is called "sake ikura don" (salmon rice bowl with salmon roe) or "sake oyako don" ("oyako" meaning parent and child; the salmon being the "parent" and the roe being the "child").
Japanese: 鮭を煮ることなしに、刺身のまま白いご飯の上にのせ、イクラを添えた場合は「鮭いくら丼」「サケ親子丼」などと呼ばれる。
English: In the Watari region (Arahama, Watari Town) near the mouth of Abukuma-gawa River, beach seine fishery of salmon was popular.
Japanese: 阿武隈川の河口付近にある亘理地方（亘理町荒浜）では、鮭の地引網漁が盛んであった。
English: At the start of the Edo period, Masamune DATE, who became the feudal lord, visited Watari region for inspection of renovation work at Abukuma-gawa River.
Japanese: 江戸時代に入り領主となった伊達政宗が阿武隈川修繕の視察に亘理地方を訪れた。
English: Since it is originally a local dish, the manner of topping salmon roe may be slightly different depending on the household ("served raw", "lightly boiled", "cooked until the surface turns white").
Japanese: 本来郷土料理である為、イクラの盛り方に各家庭で若干のちがいがある（「生のまま」・「軽く湯がく場合」・「表面が白くなる程度まで加熱」）。
English: In some specialty shops, salmon roe is often boiled, lightly before it turns cloudy, in order to remove the fishy smell.
Japanese: 専門店では、なまぐささを除去するために軽く白濁しない程度に湯がいて供される場合が多い。
English: The season for harakomeshi being autumn, during other seasons, hokki meshi (Sakhalin-surf-clam rice) (Winter), shako meshi (mantis shrimp rice) (Spring), and asari meshi (Manila clam rice) (Summer) are served in the Watari region.
Japanese: 秋季が旬であるが、亘理地方では他季節には、ホッキめし（冬）・しゃこめし（春）・アサリめし（夏）が提供される。
English: Donburi-mono (rice bowl dish) that are known either as "sake ikura don" or "sake oyako don" are served simply by placing salmon and salmon roe on top of white rice; whereas harakomeshi differs from other such dishes in that the rice is flavored as well.
Japanese: 「鮭親子丼」、あるいは、「鮭いくら丼」と知られている丼物の場合は、白米の上にサケやイクラを並べただけだが、はらこ飯の場合はご飯にも味付けがなされるところが異なる。
English: When Morioka Station was the terminal of Tohoku Shinkansen (line), harakomeshi was a popular ekiben for passengers who made connections to the Limited Express "Hatsukari" bound for Hachinohe Station and Aomori Station (the consumption of salmon fillet and salmon roe is great in Aomori Prefecture, regardless of the area).
Japanese: 盛岡駅が東北新幹線の終着駅だった頃は、八戸・青森方面の特急はつかりに乗り継ぐ乗客に人気のあった駅弁でもあった（青森県は地域を問わず、鮭の切り身やイクラの消費量が多い）。
English: Furthermore, during the time when the Limited Express "Towada" (later replaced by "Hakkoda"), which ran from Ueno Station to Aomori Station, was in regular service, the timetable was set to give a rather long standing time for the downtrain (departing from Ueno Station) at Morioka Station during 6:50 and 7:00 in the morning to wait to be overtaken by the successive train, an overnight train service; accordingly, harakomeshi was sometimes sold out when there were many passengers buying the ekiben for breakfast.
Japanese: また、上野-青森間を走行していた急行十和田（のちに八甲田に替わる）が定期運行されていた時代は、下り列車（上野発）では後続の電車寝台特急に抜かれるのを待つため、朝の6時50分～7時間に盛岡駅で停車時間を長めに取るダイヤになっており、多客時には朝ご飯として買い求める乗客で売り切れることもあった。
English: Kyoto Animation Co., Ltd. is a Japanese corporation engaged in the design and production of animation as well as technical guidance related to animation production.
Japanese: 株式会社京都アニメーション（きょうとアニメーション、英語表記：）はアニメーションの企画・製作およびアニメーション制作に関する技術指導を主な事業内容とする日本の企業である。
English: The company has an office in Minato Ward, Tokyo, away from its head office in Uji City, Kyoto Prefecture because some of post-production processes need to be handled outside of the company.
Japanese: 一部のポストプロダクション工程は社外で行う必要があるため、京都府宇治市の本社近郊とは別にオフィスを東京都港区(東京都)に置く。
English: In addition, it is said that some main staff including producers frequently travel back and forth between Kyoto and Tokyo.
Japanese: また、演出など一部のメインスタッフは、京都と東京を往復する事も多いと言われる。
English: The company received much attention in 2000s, and has been highly praised for the quality of its work, producing a wide variety of prime production works including those of the bishojo (beautiful young girl) genre such as "Air" and "Clannad", full-scale robot animation works such as the "Full Metal Panic!" series, school comedies such as "The Melancholy of Haruhi Suzumiya" and gag stories such as "Lucky Star."
Japanese: 2000年代において、もっとも注目を集めたアニメーション制作会社の一つであり、元請制作では『AIR(ゲーム)』『CLANNAD(ゲーム)』のような美少女系をはじめ、『フルメタル・パニック!』シリーズのような本格ロボット物、『涼宮ハルヒの憂鬱』のような学園コメディー物、『らき☆すた』のようなギャグ作品に至るまで幅広くこなすなど、作品クオリティーには非常に高い定評がある。
English: In 1981, Yoko HATTA, who had experience of color setting at the former Mushi Production studio, began to undertake finishing work at the Tatsunoko Production and Sunrise animation studios with local housewives.
Japanese: 旧虫プロダクションで色彩設定仕上げ経験のある八田陽子が、1981年に近所の主婦らと、竜の子プロダクションやサンライズ(アニメ制作会社)の仕上げの仕事を始めた。
English: HATTA called her business 'Kyoto Anime Studio' due to her move to Uji City, Kyoto Prefecture after getting married, but later she renamed it 'Kyoto Animation' and incorporated it as a limited private company, appointing her husband Hideaki as president.
Japanese: 八田が結婚して移り住んだ京都府宇治市に由来して「京都アニメスタジオ」と名乗っていたが、のちに「京都アニメーション」に改称、夫の英明を社長に据え、1985年に有限会社として法人化される。
English: The company originally specialized in the finishing process but it established a drawing department in 1986 and began to undertake production of animation for other companies.
Japanese: 元は仕上げの工程を行う仕上専門会社であったが、1986年に作画部門を設立し他社の動画の下請けを始めている。
English: It is thought that the company performed the actual production of the TV animation "Red Photon Zillion" produced by Tatsunoko Production in 1987, and that this production financed the establishment of I.G. Tatsunoko (which later became Production I.G) by Mitsuhisa ISHIKAWA, who had been the producer of "Red Photon Zillion."
Japanese: 1987年のタツノコプロ制作のテレビアニメ『赤い光弾ジリオン』では、実質的な制作を行ったとされ、同作品のプロデューサー石川光久がアイジータツノコ（後のProductionI.G）を設立する際には出資を行った。
English: The company established a framework for in-house staging, drawing, finishing, backgrounds and filming after mid-1990s and started to perform the gross subcontracting work of TV animations.
Japanese: やがて1990年代半ばから、演出・作画・仕上げ・背景・撮影などを自前で行う体制を整え、テレビアニメのグロス請けを行うようになった。
English: It had four studios at one point, and was engaged in the packaging design for game software and the production of comics derived from these games.
Japanese: 一時期4ヶ所のスタジオを構えた時期もあり、またゲームソフトのパッケージデザインやそのソフトに関連したコミック版も請け負っていた。
English: Following an order from Shin-ei animation, Kyoto Animation produced the TV animation "Noroi-no-one-piece" based on the comic by Shungiku UCHIDA, and this was to be the first animation produced using entirely the company's own staff from staging to finishing.
Japanese: 1992年にはシンエイ動画からの受注で、内田春菊原作のテレビアニメ『呪いのワンピース』を演出から仕上げまで初めて社内スタッフだけで制作した。
English: Following this, the company did subcontract work for Shin-ei animation, Sunrise (animation production company) and Piero Production which were its main clients.
Japanese: その後、長らく主要取引会社であるシンエイ動画、サンライズ(アニメ制作会社)、ぴえろなどの下請けを行った。
English: According to Gisaburo SUGII, an animation director, the company accepted a constant flow of orders because of its good reputation, and production companies which were prime contractors sometimes had to adjust their schedule only for the purpose of making a request to Kyoto Animation.
Japanese: アニメ監督の杉井ギサブローによると、その評判から仕事の依頼が絶えず、発注する元請けの制作会社では、京都アニメーションに仕事を依頼するためにスケジュール調整を行うことがあったという。
English: The company produced the TV animation "Full Metal Panic? Fumoffu," its first prime production in 2003, and produced "Air" in 2005.
Japanese: 2003年、初の元請制作のテレビアニメ『フルメタル・パニック!フルメタル・パニック?ふもっふ』を制作し、2005年には『AIR(ゲーム)』を手がけた。
English: "Air" was much talked about within the animation industry at the time because of its unsurpassed level of elaboration and sophisticated staging, and the name Kyoto Animation became a brand among animation.
Japanese: AIRは当時のアニメ界としては、他を圧倒するほどの作り込みと巧みな演出が話題を呼び、京都アニメーションの名はアニメファンの間でブランド化した。
English: The company went on to dedicate itself to its own prime productions and, after the production of "Air," adapted created animated TV adaptations of romantic adventure games produced by the Key game brand including "Kanon," "Clannad" and "Clannad After Story" at a rate of one animation per year.
Japanese: 以後、自社元請制作に専念するようになり、『AIR』以降、ゲームブランドKeyが製作した恋愛アドベンチャーゲームをテレビアニメ化し、『Kanon(ゲーム)』、『CLANNAD(ゲーム)』、『CLANNAD〜AFTERSTORY〜』と毎年1作ずつ制作している。
English: Also in 2005, the company produced "Full Metal Panic! The Second Raid," a sequel to the Full Metal Panic series, which also became a hit.
Japanese: 同じく2005年、フルメタル・パニックシリーズの続編『フルメタル・パニック!フルメタル・パニック!TheSecondRaid』を制作し、これもヒットした。
English: Furthermore, the 2006 animation "The Melancholy of Haruhi Suzumiya" became the most popular work of the first half of year, and "Lucky Star," which was broadcast in 2007, was as great a hit as "The Melancholy of Haruhi Suzumiya."
Japanese: さらに2006年の『涼宮ハルヒの憂鬱(アニメ)』は同年上半期最高の話題作となり、2007年放送した『らき☆すた(アニメ)』も『涼宮ハルヒの憂鬱』同様、ヒット作となっている。
English: The company planned to produce "Tonari no 801-chan" in 2009, but the plan was cancelled due to various factors.
Japanese: 2009年に『となりの801ちゃん』を制作する予定だったが、諸般の事情で中止になった。
English: Being a local studio with no production companies nearby to outsource to, Kyoto Animation has established systems capable of in-house production processes including staging, drawing, finishing, art, filming and digital effects, so that one of its characteristics is the close communication among its staff compared with studios which establish division of labor through outsourcing.
Japanese: 地方プロダクションであり近場に外注を出せる制作会社が無い事もあって、演出、作画、仕上げ、美術、撮影、デジタルエフェクトまでのプロダクション作業を社内で行なえる体制を構築しており、外注による分業体制を取るプロダクションに対して、スタッフのコミュニケーションが密に取れることが特徴となっている。
English: At present, it has never subcontracts gross to other companies except in the case of "Full Metal Panic? Fumoffu."
Japanese: 現在のところ、他社へのグロス出しは『フルメタル・パニック?ふもっふ』を除いて行われていない。
English: Before the company adapts a game (produced by Key) into an animation, all of the staff to be engaged in its production play the original game, although they are not forced to do so.
Japanese: ゲーム作品（ここではKey作品）のアニメ化にあたっては、強制ではないがアニメを制作するスタッフ全員で原作ゲームをプレイしている。
English: The staff responsible for the establishment of production and production management are called the 'Establishment Manager' and 'Production Manager' respectively.
Japanese: 設定制作、制作進行をそれぞれ「設定マネージャー」「制作マネージャー」と呼称する。
English: When the main characters of "Lucky Star" visited Kyoto Animation in its twenty-first episode, they said 'This company only needs a headquarters the size of regular building because it limits how much it produces.'
Japanese: 『らき☆すた』の21話において、主人公達が同社を訪れた際、「作品数を絞っているので本社の見た目は普通の建物ぐらいでいい」という会話をしていた。
English: In February 2008, a new studio (the first studio), which had been under construction in Momoyama Town, Fushimi Ward, Kyoto City (near the boundary with Rokujizo, Uji City), was completed.
Japanese: 2008年2月、京都市伏見区桃山町（宇治市六地蔵との境界付近）に建設していた新スタジオ（第1スタジオ）が完成した。
English: Since the 2008 fiscal year, animation has been produced in a new studio located one station away from the headquarters, as well as at the headquarters which had been completed in Uji City in 2005 and a studio (the second studio) accessible on foot from the head office.
Japanese: 2008年度以降は2005年に完成した宇治市内の本社と、本社から徒歩圏内にあるスタジオ（第2スタジオ）とともに、一駅で行ける新スタジオでもアニメーション制作を行っている。
English: "The Melancholy of Haruhi Suzumiya" and older works were non-HD-compliant at the time of mastering, and they were produced in 16:9 SD (Standard Definition).
Japanese: マスタリング時点で『涼宮ハルヒの憂鬱』までは、ハイビジョン制作には非対応だった為、16:9の標準画質映像（StandardDefinition：SD）画質で制作していた。
English: Therefore "Air," which used high definition video formats for its broadcast on BS-TBS in 2005 and release on Blu-ray Disc in 2006, were produced in SD video and converted into HD video.
Japanese: そのため2005年にBS-TBSで放送され、2006年にはBlu-rayDiscで発売されるなど高精細度ビデオ（HighDefinition：HD）での映像フォーマットが使用された『AIR』でも、SDで制作しアップコンバートでHD化したものであった。
English: Kyoto Animation began producing HD video after "Kanon" in 2006, but BS-I converted HD video into SD video and reconverted them into HD video again before broadcasting them.
Japanese: HDでの制作は2006年の『Kanon』からであるが、BS-iはHDの素材をSDにダウンコンバートした後、HDにアップコンバートしなおしたものを放送した。
English: It is said that they do not broadcast in HD video in an attempt to increase DVD sales, or because they are planning to release the HD remastered versions again after the widespread adoption of next-generation DVD, and the broadcasting of videos which have been intentionally degraded is a method frequently used by TBS (and its subsidiary, BS-i) (on the other hand, works produced by Mainichi Broadcasting System, Inc. (MBS) and Chubu-Nippon Broadcasting Co., Ltd. (CBC), which are affiliates of TBS, have been broadcast in the HD master versions in recent years).
Japanese: HDのまま放送しないのはDVDの売り上げ増や、次世代DVDが普及した後にHDリマスター版で再び売り出す事を狙ったものと言われており、故意に画質を落とし放送するのはTBS（および子会社のBS-i）で多用される手法である（その一方で系列局の毎日放送（MBS）や中部日本放送（CBC）制作作品では近年になってHDマスターでの放映を実施している）。
English: All of Kyoto Animation's own prime productions (except for "Sora wo Miageru Shojo no Hitomi ni Utsuru Sekai" (The World Reflected in the Eyes of a Girl Looking Up at the Heavens)) are based on adventure games (produced by Key), light novels and comics, and they were basically true to the original storylines with some surprise elements added (in "The Melancholy of Haruhi Suzumiya" even the text of the original novel was reproduced).
Japanese: 元請制作作品は『空を見上げる少女の瞳に映る世界』を除き、アドベンチャーゲーム（Key作品）・ライトノベル・コミックなどを原作としているが、それらの作品はいずれも基本は原作に忠実であり、その上でサプライズ的な要素を付加させるといったストーリー展開を貫いている（『涼宮ハルヒの憂鬱』では原作小説の地の文まで再現している）。
English: Although "Air," "Kanon" and "Clannad" were also adapted into animations by Toei Animation, the Kyoto Animation versions are true to the original and more highly praised than the Toei Animation versions, which featured original elements based on Toei's own interpretations.
Japanese: 『AIR』『Kanon』『CLANNAD』は東映アニメーションもアニメ版を制作しているが、東映が独自の解釈でオリジナル要素が強いのに対し、京都アニメーションでは原作に忠実な点が高く評価される一因となっている。
English: In addition to storylines, Kyoto Animation produces drawings very similar to the CG and illustrations of original works, and with regard to Key adaptations, uses a large number of the theme songs and background music used in the original games.
Japanese: ストーリー以外でも、原作のCGやイラストと近い作画を制作し、Key作品においては原作に使用されている主題歌・BGMを多用している。
English: Animation Do' (trade name: Animation Do Ltd.) is a newly-established subsidiary of Kyoto Animation formed by incorporating its Osaka studio on April 7, 2000.
Japanese: 2000年4月7日に京都アニメーション大阪スタジオを法人化し、新たに設立された関連会社として「アニメーションDo（商号：有限会社アニメーションドゥウ）」がある。
English: The main activity of this company was to cooperate in creating drawings for works undertaken by Kyoto Animation in addition to works independently subcontracted by Shin-ei animation such as "Atashin'chi" and "Jungle wa itsumo Hale nochi Guu."
Japanese: 独自にシンエイ動画から『あたしンち』『ジャングルはいつもハレのちグゥ』などを請ける他は、京都アニメーションが請ける作品の作画を協力することが主な業務だった。
English: As Kyoto Animation has dedicated itself to its own prime productions, Animation Do has been devoted to the gross subcontract of Kyoto Animation.
Japanese: 京都アニメーションが自社元請け制作に一本化してからは、同社のグロス請けに専念。
English: It is for this reason that Animation Do staff were credited as members of Kyoto Animation in the theatrical film "Crayon Shinchan" (in the TV animation series, Animation Do is treated as part of Kyoto Animation even after its incorporation.).
Japanese: そのため、劇場版『クレヨンしんちゃん(アニメ)』では、アニメーションDoのスタッフも京都アニメーションの一員としてクレジットされている（テレビシリーズでは設立後も京都アニメーション名義）。
English: Kyoto Animation animations are essentially alternately adapted from games produced by the game studio Key and light novels and comics published by Kadokawa Group Publishing Co., Ltd.
Japanese: 基本的に、原作がゲームブランドKeyの作品と、原作がライトノベル・漫画である角川書店の作品を交互にアニメ化させている。
English: When a Key game is adapted into an animation, Fumihiko SHIMO, a fan of Key and the animation scriptwriter who proposed making an animated adaptation of "AIR," writes the script, and Tatsuya ISHIHARA, who is also a fan of Key and the main director at Kyo-ani, teams up with Shimo and takes charge of production.
Japanese: Key作品のアニメ化にあたっては、Keyファンであり『AIR(ゲーム)』アニメ化の話を持ち込んだアニメーション脚本家の志茂文彦が脚本を勤め、同じくKeyファンで京アニの主監督を勤める石原立也がタッグを組んで制作を行っている。
English: Kyoto Animation has close ties with Shoji GATO, the original author of "Full Metal Panic!," and he wrote scripts for "The Day of Sagittarius," eleventh episode (in the order of airing) of "The Melancholy of Haruhi Suzumiya" (animation), 'A Good Archer' (the fifth episode), 'Let's Go to the Festival' (twelfth episode) and 'Kokoni aru Kanata' the twenty-second episode) of "Lucky Star."
Japanese: なお『フルメタル・パニック!』の原作者・賀東招二と関係が深く、アニメ『涼宮ハルヒの憂鬱』の放送順第11話「射手座の日」、『らき☆すた』の第5話「名射手」、第12話「お祭りへいこう」、第22話「ここにある彼方」の脚本は賀東が担当した。
English: In 'Someday in the Rain,' the ninth episode (in the order of airing) of "The Melancholy of Haruhi Suzumiya," the original author Nagaru TANIGAWA created a new story especially for the animation and wrote the script as well.
Japanese: 『涼宮ハルヒの憂鬱』の放送順第9話「サムデイインザレイン」は、アニメ版オリジナルエピソードを原作者の谷川流が書き下ろし、脚本まで担当している。
English: Robatayaki refers to the style of premises and serving at restaurants, which originated in Sendai City, Miyagi Prefecture and developed in Kushiro City, Hokkaido, as well as the dishes served there.
Japanese: 炉端焼き（ろばたやき）は、宮城県仙台市で発祥し、北海道釧路市で発展した飲食店の店舗や給仕の形態、および、そこで出される料理のこと。
English: Seafood and vegetables are grilled over charcoal fire by the side of irori fireplace (open hearth) in front of customers, and then dishes are placed on long shamoji (long spoon or spatula) and carried to the customers.
Japanese: 客の目の前の囲炉裏端において、炭火で魚介類や野菜を焼き、長いしゃもじ（掘返べら）で料理を運ぶ。
English: It is said to have originated that the local vegetables were grilled over irori fireplace and served to customers at a restaurant named 'Robata' in the nightlife district called 'Kokubu-cho Town,' in Sendai City.
Japanese: 仙台市の歓楽街「国分町(仙台市)」にある「炉ばた」との店名の店において、採れた野菜を囲炉裏端で焼いて客に出していたのが発祥とされる。
English: Later, the best apprentice at 'Robata' opened a restaurant in Osaka Prefecture, and the second best apprentice at Sakaemachi, Kushiro City, Hokkaido, and three other apprentices opened robatayaki restaurants in Aomori Prefecture, Fukushima Prefecture, etc. in Tohoku region (The restaurant in Osaka is already closed.)
Japanese: その後、「炉ばた」の一番弟子が大阪府で、二番弟子が北海道釧路市栄町で、ほか3名の弟子が東北地方の青森県や福島県などで炉端焼きの店を出した（大阪の店は既に閉店）。
English: The apprentice in Kushiro City opened his restaurant named 'Robata,' same as the restaurant in Sendai City, and started to serve also grilled seafood, which were caught at Kushiro Port.
Japanese: 釧路の弟子は仙台と同様に「炉ばた」との店名で店を出し、釧路港で揚がる魚介類も焼いて出すようになった。
English: It is said that robatayaki restaurants expanded to various places across the country by following the menus of 'Robata' in Kushiro City.
Japanese: この釧路の「炉ばた」のメニューを踏襲した形で、日本各地に炉端焼きの店が広がったとされる。
English: While there are two common sayings as to the origin of robatayaki, one being Sendai and the other being Kushiro, the above-described stories are commonly recognized by both restaurants.
Japanese: 炉端焼きには仙台発祥と釧路発祥の2つの俗説があるものの、以上の経緯は両店で共通認識となっている。
English: A karaage (fried food coated with flour or potato starch) restaurant called 'Torimatsu,' from which karaage zangi (fried food coated with flour or potato starch, unique in Hokkaido) originated, is located several doors from 'Robata' in Kushiro City.
Japanese: 釧路の「炉ばた」の数軒隣に、唐揚げザンギの発祥の店と言われている唐揚げ屋「鳥松」が存在する。
English: The term "oyatsu" (おやつ), also written in katakana (one of the Japanese syllabaries) as オヤツ, refers to an afternoon snack that was originally eaten at yatsudoki (approximately 2 p.m.) according to the old Japanese way of counting time.
Japanese: おやつ（片仮名でオヤツとも）とは、八つ時（午後2時頃）に食べる間食のことを指す。
English: It is also said that people came to eat a snack to shake off sleepiness when they had not taken a midday nap.
Japanese: 昼寝を取らなかった時の眠気覚ましで食べるようになった、とも言われる。
English: The United Kingdom also has a similar custom, which refers to afternoon tea (also known as high tea).
Japanese: こういった習慣はイギリスにおけるアフタヌーン・ティー（ハイティーとも）にも見られる。
English: There is a tendency to eat mainly sweets including sugars and snacks including carbohydrates as between-meals refreshments so as to get nutrition, especially calories, in the daytime.
Japanese: 日中の栄養（特にカロリー）補給の意味合いからか、甘いもの（糖質）や炭水化物が主体となる傾向も見られる。
English: As an aside, there is the following joke or conventional expression: "Is a banana an oyatsu?" "No, it is not an oyatsu because it is a kind of fruit."
Japanese: 余録ではあるが、“『バナナはおやつですか？』・『バナナは果物なのでおやつではありません』”という冗談ないし決まり問答がある。
English: This joke can be explained in connection with the fact that people eat mainly sweets as an oyatsu in modern times.
Japanese: これは、近代のおやつを菓子類が占めてきたことに関連付けて見ることが出来る。
English: But they do not want to get such a feeling of fullness that they can not eat regular meals that supply other nutrients.
Japanese: とはいえ、他の栄養も取ることを視野に入れた食事が取れなくなるほど満腹感を追求することはない。
English: Therefore, the volume of snacks between meals is less than that of a regular meal in many cases.
Japanese: このため間食は多くの場合に於いて一般の食事より「量は控えめ」となる。
English: If the terms "a light meal" and "oyatsu" are compared, oyatsu tends to be used for sweets, the flavor of which people enjoy.
Japanese: ただし軽食とおやつといった場合には、おやつの方はデザートなど風味を楽しむ傾向が強い。
English: As there is a great variety of confectionery in modern times, there is also a tendency to enjoy its flavor first, and to relieve hunger with it until the next regular meal.
Japanese: 多種多様な菓子類の発達した現代では、とりあえず風味を楽しみながら次の食事を待つまでの間の空腹感を紛らわせる様子も見出せる。
English: It originally meant a snack between meals eaten by farmers to maintain body strength during a break when people took only two meals a day in the morning and evening.
Japanese: もともとは食事が朝夕のみ1日2食の時代に、農民たちが体力維持のため休憩時に取っていた間食のことである。
English: The term "oyatsu" originated in the custom made at yatsudoki (about two p. m.) according to the Japanese clock.
Japanese: おやつの習慣は元々が和時計における「八時（やつどき＝午後2時前後）」に由来する。
English: It has not used in the original meaning since the latter half of the 20th century up to now when people have come to eat meals universally three times a day.
Japanese: 1日3食が普遍的慣習となった20世紀後半より現在ではその意味は薄れた。
English: At present, it generally means a snack between meals, which does not correspond to a breakfast, lunch or dinner (or an evening meal).
Japanese: 単に朝食・昼食・夕食（ないし晩飯）以外の間食全般を指すようになっている。
English: Bunmeido Shinjuku Inc., which is known as a brand of castella sponge cake and Japanese confectionery, produced a TV commercial in which the following catch phrase was broadcast with a lilting tune: 'Our castella is No. 1, our telephone number is two, let's stop at 3 p.m. for a snack (produced by Bunmeido).'
Japanese: カステラや和菓子のブランド（屋号・商標）で知られる文明堂が、テレビの文明堂CMで「カステラ一番、電話は二番、三時のおやつは～」と言うキャッチフレーズを軽快な曲に併せて放送した。
English: For this reason, there is a theory that the time to eat an afternoon snack averaged out to 3 p.m. under the influence of this commercial, although each family had enjoyed it in various periods of time before.
Japanese: このことで、従来各々の家庭で適当な時間に楽しまれていたおやつの時間が平均化され午後3時になったという憶説も聞かれる。
English: Bunmeido intended that its catch phrase would help consumers remember the telephone number of the store.
Japanese: なお文明堂のこのキャッチフレーズは、店の電話番号を印象付けようという意図があったものである。
English: As the catch phrase was related to the telephone number, it had been used also in an advertisement on the back cover of a telephone directory since 1933.
Japanese: ということで、このキャッチフレーズも1933年から電話帳の裏広告に使われていた。
English: Shunga (erotic arts) is a kind of ukiyoe (Japanese woodblock prints) that portrayed sexual culture (especially the scenes of sexual intercourse between the sexes or the same sex) that was in fashion in the Edo period.
Japanese: 春画（しゅんが）とは、江戸時代に流行した性風俗（特に異性間・同性間の性行為場面）を描いた浮世絵の一種。
English: It was considered that the shunga has its origin in Bocchujutsu (sexual art) that was introduced with Chinese medical books.
Japanese: 春画の始まりは中国の医学書とともに伝えられた房中術の解説図だと思われる。
English: In Japan, in the early Heian period, it is said that there was an picture known as ensokuzu, osozuzu, or osokuzu-no-e (erotic picture) that portrayed sexual theme, such as the "Kokon chomon ju" (a collection of Tales Heard, Past and Present).
Japanese: 日本では平安時代初期から偃息図（えんそくず、おそくず）、またはおそくずの絵と呼ばれる性的題材を描いた絵画があったとされているが（『古今著聞集』など）。
English: From the Muromachi period to the Edo period, it became popular among common people and depicted by the painters.
Japanese: それが庶民に、室町時代から江戸時代にかけて広がり、絵師たちによって描かれるようになった。
English: It was used as a kind of good luck charm, especially the makurae picture scroll was used for a sexual manual for a bride.
Japanese: 災難よけの一種のお守りとして使われるようになったり、特に枕絵の絵巻は花嫁の性教育のテキストとして使われた。
English: In the early times, the most famous painter was Moronobu HISHIKAWA who mainly painted the shunga.
Japanese: 初期の絵師としては菱川師宣が代表的であり、彼の作品の大半が春画である。