nntsuzu/KFTT huggingface dataset:
English: Contents varied and ranged widely: revenge, loyalty and martial stories, dramatic narrations, Kabuki and Noh stories, depictions written in phonetic Japanese kana syllabary, fairy tales, poignant stories etc.
Japanese: 敵討ちなどの忠義や武勇伝、浄瑠璃・歌舞伎、謡曲、仮名双紙、軍記物、お伽双紙、浮世双紙など多様な内容になってきた。
English: They were published from the Eikyo era (1429 – 1441) in half sheet size five page (occasionally six) format in two or three pamphlets per installment.
Japanese: 永享年間から刊行され、半紙半截5丁、まれに6丁を1冊とし、2、3冊で1部とした。
English: Readers being young boys and girls, blue books had more advanced content than red books and, from 1775 onwards only a small number were published.
Japanese: 青年男女を読者とし、内容も赤本より高まり、安永4年以降もわずかに刊行された。
English: It was by the bindings of amber (light green) books (described yellow as blue) that it could be discerned if story plots etc were written for boys or girls.
Japanese: 黄色（もえぎ色）の表紙（黄色を青と称した）で、少年や女性向けに芝居の筋書きなどを書いたもの。
English: (A genre of yellow bound books for adults appeared however, at this time they were grouped together and called 'Blue Books.')
Japanese: （大人向けの黄表紙というジャンルが生まれるが、同時代にはまとめて「青本」と呼ばれていた）
English: Besides the synopsis, these books were organized cover to cover by use of language and pictures to give pleasure as readers understood subtext messages not initially obvious.
Japanese: 筋書き以上に、言葉や絵の端々に仕組まれた遊びの要素を読み解くことに楽しみがあった。
English: Harumachi KOIKAWA's 1775 serialized story "Professor Kinkin's Dream of Splendor" is seen as a representative example of the yellow book genre.
Japanese: 安永4年に刊行された恋川春町の『金々先生栄花夢』が黄表紙の代表作である。
English: Books were of lower grade pulp paper or better quality paper stock that was cut in half and folded, made into a format of five sheets per volume of which two or three of these volumes then made up one installment.
Japanese: 漉返半紙または上半紙半截二つ折本、1冊5枚の形式、これが2冊または3冊で1部をなす。
English: Books began getting longer; until then books had been bound as 5 sheet publications, then units of ten sheets or otherwise 15 sheets making up one book.
Japanese: 長編化し、それまで五丁で一冊に綴じていたものを十丁ないし十五丁単位で一冊に綴じたものだった。
English: (This format clearly emerged in 1806 with the publication of Sanba SHIKITEI's work "Ikazuchitaro Goaku Monogatari" (The saga of the villainous Taro Ikazuchi). Sanba is said to be the originator of the `Gokan` picture book genre.)
Japanese: （この形式を明瞭にとったのは、文化3年の式亭三馬の『雷太郎強欲悪物語』からである。三馬は合巻形式の発案者であるという）。
English: However, influenced by the Tenpo era (1841-1843) reforms, gaudy formats were prohibited for a time the style declined.
Japanese: しかし天保の改革の影響により華美な装丁が禁じられ、いったんは衰退する。
English: However, due to these reforms, lewd images and erotic books were banned and, together with the decline of novels, the readers of novels switched over to 'Gokan' picture books leading to an increase in the number of titles published.
Japanese: しかしこの改革によって好色画・好色本が禁圧され人情本が衰退すると、人情本の読者が合巻に流れて刊行点数が増大した。
English: Also, because of the impact of these reforms, the network of existing publishers collapsed and with this, emerging publishers were able to publish many 'Gokan' picture books.
Japanese: また改革の影響で既存の版元の枠組みが崩れたことにより、新興の版元が多くの合巻を出版するようになった。
English: With the coming of the the Meiji period (1868-1912), authors of 'Gokan' picture books were able to convert to publishing their writing in serialized format in newspapers and with that, a new body of readership was acquired.
Japanese: 明治に入ると合巻の作者は執筆の場を新聞の連載小説に移し、新たな読者層を獲得した。
English: Furthermore, with the introduction of letterpress printing, the written word became more important than the graphics and besides this, there were changes such as massive growth of circulation etc.
Japanese: また活版印刷の導入によって絵に対して文章の比重が高まったほか発行部数の増大などの変化があった。
English: Before the Edo period, the term "Sarugaku" (form of theatre popular in Japan during the 11th to 14th centuries) was used, which corresponds to the term "Nohgaku" used today.
Japanese: なお、江戸時代以前には現在の能楽に相当する言葉として猿楽が用いられていた。
English: The term "Nohgaku" has been widely used since the establishment of the Nohgakusha (Noh Society) in 1881.
Japanese: 能楽という言葉が広く使われるきっかけになったのは、1881年（明治14年）の能楽社の設立である。
English: After the Meiji Restoration, Sarugaku actors, who had been protected by Edo bakufu (Japanese feudal government headed by a shogun) as bearers of Shikigaku (the music and plays for official ceremonies), lost their job, and the performing art Sarugaku faced a crisis of survival.
Japanese: 明治維新により、江戸幕府の式楽の担い手として保護されていた猿楽の役者たちは失職し、猿楽という芸能は存続の危機を迎えた。
English: In response to this situation, Tomomi IWAKURA and other government officials and peers provided funding to establish 'Nohgakusha' as an organization for keeping Sarugaku.
Japanese: これに対し、岩倉具視を始めとする政府要人や華族たちは資金を出し合って猿楽を継承する組織「能楽社」を設立。
English: At this time, the term "Sarugaku" was consciously changed to "Nohgaku," and the term "Nohgaku" has been used since then until now as a general concept for the three types of performing arts described above.
Japanese: この時に猿楽という言葉は意識的に能楽に言い換えられ、以降、現在に至るまで、前述の3種の芸能を総称する概念として使用され続けている。
English: Performers of Nohgaku include Nohgakushi (Noh actor), Kuroto (expert), who are professional actors belonging to the Nohgaku Performers' Association, people who perform native Noh play, Kyogen, and Shiki Sanban that have been passed on in specific regions or specific groups of Ujiko (shrine parishioners) of shrines, and amateur Noh performers who pay a monthly fee to a member of the Nohgaku Performers' Association to learn the techniques.
Japanese: 能楽を演ずる者には能楽協会に所属する職業人としての能楽師（玄人）の他、特定の地域や特定の神社の氏子集団において保持されている土着の能・狂言・式三番を演じる人々、能楽協会会員に月謝を払って技術を学ぶ素人の愛好家が存在する。
English: The techniques of the members of the Nohgaku Performers' Association, i.e., expert Noh performers, and their amateur pupils are divided into the following four categories: 'Shitekata' (main role), 'Wakikata' (supporting actor), 'Hayashikata' (people who play hayashi, or the musical accompaniment), and 'Kyogenkata' (farce actor).
Japanese: 能楽協会会員すなわち玄人の能楽師および彼らの素人弟子たちの技術は、「シテ方」「ワキ方」「囃子方」「狂言方」の4種類に分けられる。
English: Hayashikata' includes the following four types of technical groups: 'Fuekata' (flute player), 'Kotsuzumikata' (shoulder-drum player), 'Otsuzumikata' (hip-drum player), and 'Taikokata' (stick-drum player).
Japanese: 「囃子方」の中には更に「笛方」「小鼓方」「大鼓方」「太鼓方」の4種類の技能集団がある。
English: Historically, these techniques produced many schools, but there are schools that are extinct today.
Japanese: これらの技術は歴史的に数多くの流派を生み出してきたが、現在までに廃絶した流派も存在している。
English: However, there were a very few exceptions that a person was allowed to branch out on his own (the Kita school established as a branch school in the Edo period) or transferred to another school with permission of the head families of the schools (Hideo KANZE).
Japanese: しかし、ごく稀に例外として分派独立を許される者（江戸期における喜多流の分派）や、各流派の宗家の了承を得て移籍を果たす者（観世栄夫）も見られる。
English: Besides Soke, there are families that traditionally provided technical instructions of Nohgaku to Daimyo families (feudal lord families) in each school during the Edo period.
Japanese: また各流派には宗家以外にも江戸期に各地の大名家に仕えて能楽の技術指導を行ってきた由緒ある家柄が存在している。
English: The power of Soke is strong, but is sometimes taken away by Shokubunke Shudan (group of occupational branch families).
Japanese: 宗家の権力は強大であるが、時に職分家集団によって無力化されることがある。
English: In recent years, Shokubunke Shudan of the Kita school withdrew from 'Kita gathering,' which Kitaryu Soke (the head family or house of Kita school) presides, at the same time, and have been actually operating the Kita school as Kitaryu shokubunkai (gathering of Kita school's occupational branch families).
Japanese: 近年では喜多流の職分家集団が一斉に喜多流宗家の主宰する「喜多会」を離脱し、喜多流職分会として事実上喜多流を運営している。
English: In the Izumi school, succession to Soke by Motoya IZUMI, who is the heir of the 19th Soke Motohide IZUMI, was not accepted, and the Izumi school was consequently forced to withdraw from the Nohgaku Performers' Association.
Japanese: 和泉流においても十九世宗家の和泉元秀の嫡男である和泉元彌の宗家継承が認められず、最終的に能楽協会退会に追い込まれる事態となった。
English: When Soke is ceased for some reason, a leader in the family acts as 'Sokeazukari' (head of family under custody) to substitute for Soke.
Japanese: 何らかの事情で宗家が存在しなくなった場合には、一門中の有力者が「宗家預り」として宗家の代行を務める。
English: There is a case in which 'Sokedairi' (representation of head of family) is appointed when Soke is not able to perform his duties for some reason.
Japanese: また宗家が何らかの事情で宗家としての仕事を遂行出来なくなった場合には、「宗家代理」が立てられることもある。
English: A list of schools that are currently eligible to be a member of the Nohgaku Performers' Association is shown below.
Japanese: 以下に、現時点で能楽協会会員となる資格を付与されうる流派の一覧を示す。
English: Many of Nohgakushi are those who were born in an ancient family of Nohgakushi, and were trained by their father since they were a child.
Japanese: 能楽師の多くは何代も続く能楽師の家に生まれた者であり、幼少時から父親による訓練を受ける。
English: Those who ultimately decide to make their career as Kuroto live in a house of Soke of the school they belong and train as a private pupil to finish his primary training as Kuroto.
Japanese: 彼らの中で最終的に玄人として身を立てる決断をした者は、所属する流派の宗家の家に数年間住み込んで修行し（内弟子）、玄人としての初期訓練の仕上げを行う。
English: Even after he becomes a member of the Nohgaku Performer's Association as Kuroto, his training as Nohgakushi is continued throughout his life.
Japanese: 玄人として能楽協会会員となった後も能楽師としての訓練は生涯続けられる。
English: However, while the number of Kuroto families and amateur pupils of Shitekata is relatively large, only a very few people aspire to Kuroto of Sanyaku ('Wakikata,' 'Hayashikata,' and 'Kyogenkata'), and it became obvious already in the Showa period that the traditional training system described above was no longer effective.
Japanese: しかしながら、玄人の家や素人の入門者の数が相対的に多いシテ方は別として、三役（「ワキ方」「囃子方」「狂言方」）の玄人を目指す者の数は非常に少なく、上述のような伝統的な育成システムの行き詰まりは昭和期には明白となった。
English: In an attempt to respond to the situation, an institution for teaching the techniques of Sanyaku was established in the National Noh Theater to attract people other than Kuroto's children to the field of Nohgaku.
Japanese: そこで開始されたのが、国立能楽堂に三役の技能を伝授する学校を設置し、玄人の子弟以外の人材を能楽界に取り込むという試みである。
English: Students have enrolled in this program seven times since the institute's establishment in June 1984.
Japanese: この制度は1984年6月に開始され、現在までに7期生までが入学している。
English: Required qualifications for application are a minimum of a junior high school degree, no experience required, and un upper age limit, and the training period is six years.
Japanese: 応募資格は中卒以上・経験不問・年齢上限ありというもので、研修期間は6年間である。
English: More than 10 people completed this course and thereafter have had their career as Kuroto Nohgakushi.
Japanese: これまでに10名以上がこの課程を修了した後、玄人として能楽師を職業としている。
English: According to Hideo KANZE, there is a tacit consensus in the Nohgaku Performers' Association to equally offer jobs to Kuroto, and it is said that Shitekata performs in about 30 stages per year.
Japanese: 観世栄夫によると、能楽協会における暗黙の了解として玄人には平等に仕事を斡旋することとなっており、シテ方の場合は年間で30番程度の舞台をこなしているとされる。
English: Due to the serious shortage of Sanyaku actors in Nohgaku, it is common to perform in two to three stages per day.
Japanese: また、能楽の三役は人手不足が深刻であり、一日に2件や3件の仕事を掛け持ちすることが常態化しているとされる。
English: Legally, those who are not a member of the Nohgaku Performers' Association are not inhibited to receive cash for performing or teaching Nohgaku.
Japanese: なお、能楽を演じたり教えたりして現金を受け取る行為は、能楽協会会員以外であっても法律上は可能である。
English: In fact, Motoya IZUMI continues performing as a Kyogen performer even after he withdrew from the Nohgaku Performers' Association.
Japanese: 実際に和泉元彌は能楽協会から離れた後も狂言師として活動を続けている。
English: Furthermore, Hideo KANZE, while he withdrew from the Nohgaku Performers' Association and thus was not a member of the Association, taught Noh to Shingeki (literally, new play) actors and students as a job and performed Noh abroad with Hisao KANZE and other actors.
Japanese: 観世栄夫が能楽協会退会中に仕事として新劇俳優や学生に能を教えたり、国外で観世寿夫らとともに能を演じたりしたこともあった。
English: In the current situation, however, it is practically impossible for someone who is not a member of the Nohgaku Performers' Association to be offered a job to perform Noh within Japan, except for very rare cases such as IZUMI.
Japanese: しかし現状では、能楽協会会員以外の者が仕事として演能を依頼されることは、和泉のような極めて稀な事例を除き、日本国内ではまずあり得ない。
English: There was a case that Hideo KANZE performed Noh with members of the Nohgaku Performers' Association within Japan as an exception, but cash that was paid to Hideo KANZE was not in the form of a performance fee.
Japanese: 観世栄夫が特例として能楽協会会員に混じって日本国内で能を演じたこともあったが、この時でも観世栄夫に支払われた現金は出演料という形を取らなかった。
English: The Nohgaku Performers' Association is an association for professional Nohgakushi who are called 'Kuroto.'
Japanese: 社団法人能楽協会は、「玄人」と呼ばれる職業人としての能楽師たちの団体である。
English: The Association for Japanese Noh Plays is an association for Nohgakushi who are the holders of Important Intangible Cultural Property.
Japanese: 一方、社団法人日本能楽会は、重要無形文化財の総合認定を受けた能楽師の団体である。
English: Today, while the roles of men are performed without a mask ("Hitamen" (direct face)), an actor performing a role of a woman wears a mask to disguise as a woman.
Japanese: 能面の使われ方として現在能の男性役には面を用いない（直面（ひためん））が、女性役の場合は女面を使って女性に扮している。
English: Even when a role of a woman is performed by a Noh actress, the actress wears a mask, and this is the legacy of the prohibition to women.
Japanese: 女性能楽師が演じる場合でも女面をつけていることからも、その名残が残っている。
English: The training course of the National Noh Theater described above is also open to women, and there are comments that the performance of female trainees is not poorer than that of male trainees so far.
Japanese: なお、前述の国立能楽堂養成事業は女性にも門戸が開かれており、これまでの所、女性の研修生の成績は男性のそれに見劣りしないという意見もある。
English: However, as it is considered important to roll a bass voice in Utai (the chanting of a Noh text) and Kakegoe (shouts) of Tsuzumi in Noh.
Japanese: しかし、能の謡や鼓の掛け声などは低音を響かすことが大事とされており、気合や声域などが異なるための困難や違和感も見受けられる。
English: After the Meiji period, the number of buildings surrounding the entire Noh stage and Kensho (guest seating) increased, and such buildings are called 'Nohgakudo' (Noh theater).
Japanese: 明治以降、能舞台と見所（けんしょ、客席のこと）の全体を建物でくるむ形式が増え、これを「能楽堂」と呼ぶ。
English: After the war, on the other hand, outdoor Noh plays at night called 'Takigi Noh' (firelight Noh, performed by the light of torches or bonfires) became popular (originally the performance of Takigi Noh was started in the daytime and finishes at dusk).
Japanese: 一方で、戦後「薪能」（本来の薪能は日中から演能を始め、夕暮れまで演じる形式だった）と称して夜間の野外能が盛んになった。
English: Noh plays can be performed in any place a long as the stage has an appropriate floor, an appropriate size, and pillars on four sides and Hashigakari (bridge-form passageway to main stage) is provided.
Japanese: 舞台の床と寸法が適当で、四方に柱があり、橋懸を用意できれば、能はいかなる場所でも演じられる。
English: Shite performers greet performers of other roles before and after the performance, and Hayashi (musical accompaniment played on traditional Japanese instruments) is played before the performance is started.
Japanese: また演能の前後に諸役と挨拶をかわし、上演の前には囃子のお調べが奏される。
English: Hashigakari is provided at an angle of about 110 degrees with respect to the stage so that it is easy to see from the front audience.
Japanese: 舞台に対してだいたい110度前後の角度で取りつけられ、正面の客から見やすくなっている。
English: 4-7 Metsukebashira (sighting pillar), Shitebashira (principal character's pillar), Fuebashira (flute pillar), and Wakibashira (also called Daijinbashira, downstage left pillar): A performer wearing a mask has very limited sight, so these pillars help the performer to position himself upon the stage while dancing.
Japanese: 4-7目付柱（角）、シテ柱、笛柱、脇柱（大臣柱）　面をつけると視野が非常に制限されるので、舞台上ではこれらの柱を目印（目付）にして舞う。
English: To hang a bell of "Dojo-ji Temple," a pulley is provided to the ceiling, and a metal ring is provided to the Fuebashira.
Japanese: また『道成寺（どうじょうじ）』の鐘を吊るために、天井に滑車が、笛柱に金属製の環がとりつけられている。
English: At the back of the Jiutaiza there is a door called "Kininguchi" (entrance for nobilities), but this door is not used today.
Japanese: 地謡座の奥には貴人口（きじんぐち）と呼ばれる扉がついているが、現在ではまったく使われない。
English: There used be guest seating called Jiura at the back of the Jiutaiza, but no performance is held today.
Japanese: また、かつては地謡座の後方に地裏（じうら）と呼ばれる客席があったが、今では行われない。
English: Fue, Kotsuzumi, Otsuzumi, and Taiko of Hayashikata sit in this order from the right side, so the seats are sometimes called "Fueza" (flute players' seat) and "Kotsuzumiza" (shoulder drum players' seat), respectively.
Japanese: 囃子方が向かって右から笛、小鼓、大鼓、太鼓の順で坐るために、おのおのの部分を笛座、小鼓座といったりもする。
English: Since Koken walks through the back side of the Yokoita, the Hayashikata sit such that a space is left at the back side of the Yokoita.
Japanese: 後見が通るために、横板は後半分をあけて囃子方が坐ることになっている。
English: 11 Kyogenza (Kyogen seat): This name is given because Ai (the role of the Kyogenkata) sits here until the interval.
Japanese: 11狂言座　アイがここで中入りまで着座しているためにこの呼名がある。
English: Kizahashi is not practically used today, but in the Edo period, Ometsuke (chief inspector of the Edo bakufu) walked up Kizahashi to the stage before the performance and announced the commencement of the performance in formal Enno (performance of Noh play).
Japanese: 現在では実用されていないが、江戸時代の正式の演能の際には、開演前に大目付がここから舞台上にのぼり、幕に向かって開演を告げた。
English: 13 Shirasu: This is very simplified today, but at the time when the Noh stage was in the open air, the space between the audience sheets and the stage was covered with gravel.
Japanese: 13白洲（しらす）　現在では簡略化されているが、能舞台が戸外にあった時代には客席と舞台との間に玉砂利を敷き詰めていた。
English: The right and left makuban (curtain guards) raise a curtain (called "Honmaku" (full curtain)) using bamboo to allow Shite and Waki to enter or exit, and the way the curtain is raised differs according to the theme.
Japanese: 左右の幕番が竹を利用して幕をあげて（これを本幕という）、シテやワキが出入りし、曲趣に応じて幕のあげかたにも違いがもうけられている。
English: When Hayashikata or Koken enters or exists the stage, one side of the curtain is flipped instead of raising it to allow them to walk through.
Japanese: 囃子方や後見などが舞台に出入りする際には幕を上げずに、片側をめくって人を通す。
English: 19 Kiridoguchi: A small entrance that Jiuta in Noh and actors in performing arts other than Noh use.
Japanese: 19切戸口（きりどぐち）　能の際の地謡や、能以外の上演形式の際に出入りする人が利用する小さな出入り口。
English: Originally, Koken and Ai enter and exit through Agemaku, but Kiridoguchi is commonly used today.
Japanese: 後見やアイは揚幕から出入りするのが本来の形だが、現在では切戸口を使うことが普通である。
English: This has a symbolic meaning as an object representative of a divine spirit, and also serves as a reverberating board for resonance of the sounds of Hayashi.
Japanese: 神のよりしろとしての象徴的意味のほかに、囃子の音を共鳴させる反響版としての役割も果たしている。
English: Ashibyoshi is frequently stepped, and resonance holes are provided under the stage floor to reverberate the stepping sounds.
Japanese: また、足拍子を踏む事がよくあるが、その音が響くよう舞台の床下には共鳴腔が設けられている。
English: In the temporary open-air Noh theaters described above, it is required to use a microphone to a certain extent, and it is quite difficult to amplify the voice, because a mask is worn.
Japanese: ただし、上記のような仮設の野外能ではある程度マイクロホンを用いる必要があり、面をつけている関係上拡声はなかなか難しい。
English: In the past, the audience seats are divided into the following four places so that the stage could be seen from three directions: Shomen (the front), Wakishomen (the left side of the stage, on the Hashigakari side, directly facing Jiutai), Nakashomen (middle front, between Shomen and Wakishomen, facing Metsukebashira), and Jiura (behind Jiutaiza, facing Wakishomen).
Japanese: かつて能の客席は正面（しょうめん）、脇正面（わきしょうめん、橋掛側。地謡と正対するかたちになる）、中正面（なかしょうめん、正面と脇正面との間。目付柱のほうを向く）、地裏（じうら、地謡座の背後。脇正面と相対する）の4か所に分けられ、舞台を三方から見ることができた。
English: In Tokyo, the Kanze, Hosho, and Kita schools have their Nohgakudo, and Noh performances of the five schools including the Konparu and Kongo schools can be enjoyed in the National Noh Theater (the Konparu and Kongo schools have their Nohgakudo in Nara and Kyoto, respectively).
Japanese: 東京都には観世、宝生、喜多の各流が能楽堂を構え、国立能楽堂では金春、金剛を含んだ五流全ての能を楽しむことができる（金春は奈良、金剛は京都に能楽堂を構えている）。
English: In local cities, Noh is performed in a temporary Noh stage created in a multipurpose hall or in the open air, so there are a quite few opportunities to enjoy Noh.
Japanese: 地方でも多目的ホールや野外に仮設の能舞台を用意し演能することがあり、決して観能の機会は少なくない。
English: There is an area like Sado where Noh has been historically popular even though there is no large city.
Japanese: また、佐渡のように、大きな都市はなくとも歴史的に能が根付いた地域もある。
English: In some local cities, there are very unique local Noh performances, such as Kurokawa Noh, that is different from those of the five schools.
Japanese: 地方によっては、黒川能のような五流から離れた郷土色豊かな能も見られる。
English: Japan's Sky Perfect! (CS digital television broadcasting) provides excellent programs of Noh, and recorded Noh performances are often broadcasted through 'Kabuki Channel' and 'Kyoto Channel.'
Japanese: スカパー!（CSデジタルテレビ放送）の能番組は充実しており、「歌舞伎チャンネル」や「京都チャンネル」で度々能を録画放送している。
English: Shiokara is a preserved food made from flesh of seafood, salted mostly with the guts in order to prevent rot, fermented and matured with the aid of enzymes (an autolyzed enzyme and ones possessed by the internal microorganisms).
Japanese: 塩辛（しおから）は、魚介類の身を、多くの場合その内臓とともに塩漬けにし腐敗を防止するとともに、酵素（自己消化酵素及び内含する微生物が持つもの）によって発酵、熟成した保存食品である。
English: For the purpose of facilitating fermentation, koji (malted rice) is sometimes added, besides enzymes included in the guts.
Japanese: 内臓に含まれる酵素以外に、発酵を促進するために麹を加える場合もある。
English: The oldest reference to shiokara is seen in "Konjaku Monogatari " (The Tale of Times Now Past), but it cannot be confirmed that it is the same as the shiokara which was eaten during and after the Edo period and the age of konjaku Monogatari was historically isolated from other ages, so it would be appropriate to determine that shiokara appeared in "Nippo jisho" (a Japanese-Portuguese dictionary) for the first time.
Japanese: 古くは『今昔物語』に塩辛との文字が現れるが、江戸期以降の塩辛と同じものと確認できないことと、時代的に孤立していることから、初出は『日葡辞書』とするのが妥当と考えられる。
English: Salted fish guts are shown in documents to have been also called "nashi-mono" for a long time since the 16th century, and the name "shiokara" became popular in the latter half of the mid Edo period.
Japanese: 16世紀から記録が確認できる『なし物』との併用がしばらく続いた後、江戸中期後半以降に塩辛という名称で定着した。
English: Local accents "shookara" (Tottori City) and "shokara" (Shima City) can be seen in documents.
Japanese: 文献には、やや訛った『しょうから』（鳥取市）や、『しょから』（志摩市）の事例が掲載されている。
English: The common recipe was to add salt weighing from about ten percent to the saturation level of the flesh and guts of fish and shellfish; however, reflecting heath concerns since the end of the 20th century, shiokara with less salt has been produced and sold as well.
Japanese: 魚介肉及び内臓の約10%以上から飽和量の食塩を添加するのが一般的な製法とされてきたが、20世紀末頃からの健康志向に伴い、塩分が低い塩辛も製造・販売されるようになった。
English: Shiokara of mysid shrimp: made by salting down mysid shrimps such as Actes japonicus, Neomysis intermedia and Euphausia pacifica while the shrimps keeping the original shape.
Japanese: 塩辛アミの塩辛アキアミ、イサザアミ、ツノナシオキアミなどを丸ごと塩蔵したもの。
English: made by crushing and salting down the small-size crabs caught in mudflats such as Uca arcuata, Marcophthalmus japonicus and Cleistostoma dilatatum.
Japanese: -シオマネキ、ヤマトオサガニ、アリアケガニなど、干潟に産する小型のカニを潰し塩辛にする。
English: However, shuto differs greatly from the salted bonito in flavor.
Japanese: ただし、「酒盗」と「かつお（かつを）の塩辛」とは風味が大きく異なる。
English: Tuna, mackerel, Japanese icefish, oyster, turban shell, Sulsulus (a kind of shellfish), scallop mantle and so on
Japanese: -マグロ、サバ、シラウオ、カキ(貝)、サザエ、トコブシ、ホタテのヒモなど
English: Shiokara is called chokkaru or cho in the Republic of Korea and is essential seasoning in pickling kimchi.
Japanese: 大韓民国ではチョッカルまたはチョッと称し、キムチを漬ける際の調味料として欠かせないものである。
English: salted mysid shrimp: sometimes called seujo but usually referred to as chokkaru, and it is used in kimchi or pork dishes.
Japanese: アミの塩辛セウジョとも呼ばれるがチョッカルと言えば通常これを指す、キムチ、豚肉料理に使われる
English: Fermentation of salted squid is promoted by work of microorganisms, in addition, a vital role is played by the process in which digestive enzymes contained in guts (mainly midgut gland) cause autodigestion, resulting in production of amino acid.
Japanese: イカの塩辛の発酵は微生物による働きに加え、内臓（おもに中腸腺）に含まれる消化酵素によって自己消化が起こり、アミノ酸が生成する働きも重要な役割を果たしている。
English: The concentration of salt is 8-12% in the case of the traditional recipe, and 4-8% in the case of today's mass-produced items.
Japanese: 塩分は伝統的な製法の場合8-12%程度、近年の大量生産品は4-8%である。
English: The salted mysid shrimp is produced and used as seasonong in many areas in East Asia such as the Sea of Ariake Coasts (Japan), People's Republic of China, Cheung Chan Island (Hong Kong), Macau and South Korea.
Japanese: アミの塩辛は、日本の有明海沿岸、中華人民共和国、香港の長洲島、マカオ、韓国など東アジア各地で作られ、調味料として使用される。
English: Actes japonicus and its related species are used to produce this kind of Shiokara, but strictly speaking, they are a kind of shrimp, not of mysid shrimp.
Japanese: ここで多用されるのはアキアミやその近縁種だが、これらは厳密にはアミではなくエビの仲間である。