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主題歌 オープニング主題歌：AKINO with bless4 「エクストラ・マジック・アワー」（フライングドッグ） エンディング主題歌：BRILLIANT4(ミュース、シルフィー、コボリー、サーラマ) 「エレメンタリオで会いましょう！」（フライングドッグ）
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normal pop？をお気に入りに追加 normal pop？のリンク #bf Amazon.co.jp ウィジェット normal pop？の報道 フェンディ、ヴァイナルレコード「What Is Normal Today?」 を限定発売！：時事ドットコム - 時事通信 「性別はありません」井手上漠が号泣した母のLINEと自己肯定感を支えた18年（音部 美穂） - 現代ビジネス UNISON SQUARE GARDEN、ツアー『Normal』に象徴されたバンドの揺るぎない生き方 - リアルサウンド 文化放送で『松井佐祐里“new normal”の小部屋』が11月24日スタート - wowkorea.jp LINEが目指す、New Normalのローカルビジネスとは？ 「店舗と顧客」をつなぐ便利な新サービス発表 - ログミー normal pop？とは normal pop？はすべて希望で出来ています。 normal pop？＠ウィキペディア normal pop？ Amazon.co.jp ウィジェット 掲示板 名前（ＨＮ） カキコミ すべてのコメントを見る ページ先頭へ normal pop？ このページについて このページはnormal pop？のインターネット上の情報を集めたリンク集のようなものです。ブックマークしておけば、日々更新されるnormal pop？に関連する最新情報にアクセスすることができます。 情報収集はプログラムで行っているため、名前が同じであるが異なるカテゴリーの情報が掲載される場合があります。ご了承ください。 リンク先の内容を保証するものではありません。ご自身の責任でクリックしてください。
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The story below is originally published on Mainichi Daily News by Mainichi Shinbun (http //mdn.mainichi.jp). They admitted inventing its kinky features, or rather deliberately mistranslating them from the original gossip magazine. In fact, this is far from the general Japanese behavior or sense of worth. このページは、毎日新聞事件の検証のための配信記事対訳ページです。直接ジャンプして来られた方は、必ずFAQをお読みください。 ※ この和訳はあくまでもボランティアの方々による一例であり、翻訳の正確さについては各自判断してください。もし誤訳（の疑い）を発見した場合には、直接ページを編集して訂正するか翻訳者連絡掲示板に報告してください。 Japan's former Pink Princess trades raunchy scenes for rural canteen日本の元ピンクの女王、ひわいなシーンを田舎の食堂と交換する 拡散状況 関連ページ Japan s former Pink Princess trades raunchy scenes for rural canteen 日本の元ピンクの女王、ひわいなシーンを田舎の食堂と交換する 0 Japan s former Pink Princess trades raunchy scenes for rural canteen 2006,03,02 Shukan Shincho (3/2) By Ryann Connell 日本の元ピンクの女王、ひわいなシーンを田舎の食堂と交換する 週刊新潮(3/2) ライアン・コネル記 1 Where the West has blue movies, Japan goes pink. But the woman who became Japan s Princess of Pink gave up acting in softcore flicks decades ago and is now in the pink, running a company canteen in rustic Kumamoto Prefecture, according to Shukan Shincho (3/2). 西側諸国ではブルーフィルムだが、日本ではピンク映画という。 しかし、日本のピンクの女王になった女性は、何十年か前にソフトコア映画で演じることに見切りをつけて、今では とても元気(in the pink)に、田舎の熊本県で社員食堂を切盛りしている。週刊新潮(3/2)より。 2 Tamaki Katori became known as the Pink Princess following appearances in over 600 softcore movies, including the first of the genre ever to be made in Japan. 香取環は、600を超えるソフトコア映画 -- その中にはこのジャンルで日本で最初に作られたものも含まれる -- に出演したためピンクの女王として知られるようになった。 3 Now, the weekly notes in one of its segments to mark 50 years in publication, Katori has washed her hands of the dirty movie caper in favor of washing dishes in the canteen. 今、香取は食堂で皿を洗うほうを好んで、いやらしい映画の悪ふざけから足を洗った、と週刊新潮は、創刊50周年記念号の一部で言及する。 4 Katori was born in Kumamoto in 1938, the fourth daughter of the president of a pharmaceuticals company. While in high school, she was chosen as Kumamoto s representative in the Miss Universe Kumamoto beauty contest before going on to secure a contract with Nikkatsu, then one of Japan s biggest movie companies. 香取は1938年に熊本で生まれた、製薬会社社長の四女である。 高校に通っている間に、彼女はミス・ユニバース熊本美人コンテストの熊本代表に選ばれ、そののち、当時日本最大の映画会社の一つ・日活と契約を結ぶようになった。 5 In the early 60s, Katori managed to get some bit parts in hit movies alongside huge stars such as Yujiro Ishihara, but that didn t necessarily mean she was on easy street. 60年代はじめ、香取は、石原裕次郎などの大スターと一緒の人気映画の端役になんとかなれたものの、それは必ずしも彼女が安楽に暮らせたことを意味しなかった。 6 "At the time, the average company worker was getting about 18,000 yen a month, but a bit part in a movie was only worth around 4,500 yen. I was living in an 18-square-meter flat in (student district) Takadanobaba, where the rent was only 6,000 yen a month, but I still only barely made enough to pay that," Katori tells Shukan Shincho, adding that she walked as much as possible to cut down on traveling expenses so she would have enough money to survive. 「あの時は、普通の会社員がひと月あたり約1万8千円を得ていましたが、映画1本につき、端役は、わずかに約4500円でした。 私は(学生街の)高田馬場で18平方メートルの共同住宅に住んでいて、そこの家賃はひと月あたりたったの6000円でしたが、それでも私は家賃を払うのに十分稼ぐのがやっとのことでした」と香取は週刊新潮に語り、交通費を節約するため可能な限り歩いて生き延びるために十分な金を残せるようにしたものだ、と付け加える。 7 Katori s struggles were compounded when Japan s movie industry suddenly fell into a slump, forcing Nikkatsu into bankruptcy and taking away nearly all of Katori s work. 香取の苦境は、日本の映画産業が突然不況になったとき悪化した。日活は破綻に追い込まれ、香取の仕事はほとんど全部とりあげられたのである。 8 It was then that she got the offer that changed her career. She was asked to appear in a "pinku eiga (pink movie)," the name given to pornographic movies made in Japan by independent filmmakers. 彼女の経歴を変えた申し出を彼女がうけたのはそのときである。 彼女は「ピンクエイガ(ピンク映画)」 -- 独立系映画会社が作る日本製のポルノ映画につけられた名前である -- に出演しないかとたずねられた。 9 "They offered me 20,000 yen a movie. It was an incredible sum in those days. I hadn t been able to make it in mainstream movies because people said with my baby face and big boobs I was unbalanced, but those attributes turned out to be exactly what the pink movie business was looking for," she says. "I didn t have to get fully nude and it let me live a decent lifestyle, so I got right into it." 「彼らは私に映画1本あたり2万円を提示しました。 あのころ、それは信じられないほどの金額でした。 人々が言うには私は童顔と大きなおっぱいのせいでバランスが悪いため、私は普通の映画ではそんなに稼げなかったのですが、しかしこれらの特徴は、結局まさにピンク映画業界が求めているものだとわかりました」と彼女はいう。 「私は全裸にならなくてもよく、まあまあの暮らしをおくれるようになり、そうして私はそこに入り込みました」 10 Katori s pink movie debut was in "Nikutai no Ichiba (The Flesh Market)," which wasn t without controversy. The Metropolitan Police Department deemed the flick to be obscene and censors slashed seven scenes. Nonetheless, the movie that cost just 8 million yen to make was a huge box-office hit, reaping over 100 million yen. 香取のピンク映画のデビュー作は「ニクタイノイチバ(肉体の市場)」で、それは物議をかもさずにはいなかった。 警視庁はこの映画をわいせつであるとみなし、検閲者は7つのシーンをカットした。 それにもかかわらず、製作にわずか800万円しかかからなかったこの映画は、莫大に興行的に儲かったヒット作となり、1億円を超える売り上げを得た。 11 Katori became a huge star and was the face of the pink movie industry. By the time she retired in 1972, she made over 600 softcore flicks. Despite her huge success attained basically while lying flat on her back, Katori was far from being a fan of sex, which made her feel guilty considering there were others forced to sleep their way to the top in an entirely different manner. 香取は大スターになりピンク映画業界の顔だった。 1972年に彼女が引退するときまでには、彼女は600以上のソフトコア映画に出演した。 基本的に仰向けに寝そべっている間に獲得した彼女の途方もない成功にもかかわらず、香取はセックス好きとは程遠く、このことは彼女に、まったく違う方法でトップにのぼるために寝ることを強要された他の人たちがいることを考えると、罪悪感を感じさせた。 12 "There were so many young girls out there who couldn t get a job unless they slept with a director or producer. One director thrust a huge wad of cash at me and offered it to me for a one-night stand. He got me roaring drunk and was dragging me off to a hotel before I got away," Katori tells Shukan Shincho. "I enjoyed my acting, but I never really got used to the atmosphere of the pink movie business." 「監督やプロデューサーと寝ないと仕事を得られないあまりにたくさんの若い少女があの業界にはいました。 ある監督は莫大な現金の束を私に突きつけ一晩限りの関係を持つよう私に金をだしました。 彼は私を泥酔させて私をホテルに引っ張り込もうとし、私は逃げ出しました」と香取は週刊新潮に語る。 「私は演ずることを楽しみましたが、私はピンク映画業界の雰囲気には決して心から馴染めませんでした」 13 Katori married minor actor Jun Funado, only for the union to end in divorce after seven years. She later wed a movie director, but that marriage collapsed too. A third wedding seemed promising for a while, especially after it resulted in a child and the family moving back to Katori s native Kumamoto. 香取は二流の役者・船渡順と結婚したが、その結婚は7年後に離婚という結果になった。 その後彼女は映画監督と結婚したが、しかしその結婚もやはり破綻した。 三回目の結婚は、しばらくの間、とくに一児がもうけられ家族が香取の故郷・熊本に移った後は、将来が明るいと思われた。 14 "My husband went back to work for a relative s pharmaceuticals company, but there were a few people he didn t get on with and, because of that, he left me. I didn t have very much luck with guys. My family used to tell me that was because I d been in so many dirty movies," Katori tells Shukan Shincho. "That got me really mad, so I went out and got some proper qualifications. First, I learned how to run a gasoline station. Then, I took some hygiene qualifications and now I run a canteen for a company run by a relative. I ve got no regrets about my time in the entertainment world. I d still go back there now to perform if there was a part for this old girl." (By Ryann Connell) 「私の夫は親類の製薬会社で働くため戻りましたが、彼が仲良くやっていけない人が2・3人いて、そのために、彼は私と別れました。 私は男運がそんなにないのです。 それは私があまりにたくさんのいやらしい映画に出ていたからだと家族は私に言ったものでした」と香取は週刊新潮に語る。 「そのことは私を本当に怒らせたので、私は外へ出てちゃんとした資格をいくつか取りました。 まず、私はガソリンスタンドの経営の仕方を学びました。 そして、私は衛生の資格をいくつか取り、今私は親類が経営する会社の社員食堂を切盛りしています。 私は芸能界での自分の歳月について後悔はありません。 もしこんなおばあちゃん向けの役があるのなら、私は今でもまだ芸能界に戻って演じたいと思います」(ライアン・コネル記) 15 March 2, 2006 2006年5月2日 拡散状況 Barely 18 Movies http //www.barely18movies.com/blog/?p=165 Psychommu Gaijin 部分転載：http //pgaijin.blogspot.com/2006/03/mainichi-daily-news-waiwai-japans.html 関連ページ Barely 18 Movies Psychommu Gaijin 毎日新聞英語版から配信された記事2006年
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CHAPTER XXXVI UP CHAPTER XXXVIII CHAPTER XXXVII The Reaper Whose Name Is Death 「The Reaper Whose Name Is Death」松本訳注第37章(1) p. 531参照 第37章 死という命の刈りとり（松本訳） "Matthew--Matthew--what is the matter? Matthew, are you sick?" It was Marilla who spoke, alarm in every jerky word. Anne came through the hall, her hands full of white narcissus,--it was long before Anne could love the sight or odor of white narcissus again,--in time to hear her and to see Matthew standing in the porch doorway, a folded paper in his hand, and his face strangely drawn and gray. Anne dropped her flowers and sprang across the kitchen to him at the same moment as Marilla. 「sprang」 They were both too late; before they could reach him Matthew had fallen across the threshold. "He s fainted," gasped Marilla. "Anne, run for Martin-- quick, quick! He s at the barn." Martin, the hired man, who had just driven home from the post office, started at once for the doctor, calling at Orchard Slope on his way to send Mr. and Mrs. Barry over. Mrs. Lynde, who was there on an errand, came too. They found Anne and Marilla distractedly trying to restore Matthew to consciousness. Mrs. Lynde pushed them gently aside, tried his pulse, and then laid her ear over his heart. She looked at their anxious faces sorrowfully and the tears came into her eyes. "Oh, Marilla," she said gravely. "I don t think--we can do anything for him." "Mrs. Lynde, you don t think--you can t think Matthew is-- is--" Anne could not say the dreadful word; she turned sick and pallid. "Child, 「Child」この話し掛け方は……、特別な意味はないんでしょうね、たぶん yes, I m afraid of it. Look at his face. When you ve seen that look as often as I have you ll know what it means." Anne looked at the still face and there beheld the seal of the Great Presence. 「the seal of the Great Presence」重々しく、かつ、間接的な表現は……、どうなんでしょう。アンの気持ちを表すのに適切？ When the doctor came he said that death had been instantaneous and probably painless, caused in all likelihood by some sudden shock. The secret of the shock was discovered to be in the paper Matthew had held and which Martin had brought from the office that morning. It contained an account of the failure of the Abbey Bank. 「an account of the failure of the Abbey Bank」この account は、記事、の意味ととるべきでしょう。しかし、もちろん、銀行の口座も account なので、モードは掛け言葉のように、記事、口座のどちらの意味もある単語を使ったのに違いありません 「the failure of the Abbey Bank」松本訳注第37章(2) p. 531参照 The news spread quickly through Avonlea, and all day friends and neighbors thronged Green Gables and came and went on errands of kindness for the dead and living. For the first time shy, quiet Matthew Cuthbert was a person of central importance; the white majesty of death had fallen on him and set him apart as one crowned. When the calm night came softly down over Green Gables the old house was hushed and tranquil. In the parlor lay Matthew Cuthbert in his coffin, his long gray hair framing his placid face on which there was a little kindly smile as if he but slept, dreaming pleasant dreams. There were flowers about him--sweet old-fashioned flowers which his mother had planted in the homestead garden in her bridal days 「in her bridal days」グリーンゲイブルズを建てる前から、同じ場所に植えてあったのでしょう。グリーンゲイブルズが建ったときには、マシューもマリラも子供ではなかったのですから。It seems uncanny to think of a child at Green Gables somehow; there s never been one there, for Matthew and Marilla were grown up when the new house was built （CHAPTER I with impressionMrs. Rachel Lynde is Surprised ） and for which Matthew had always had a secret, wordless love. Anne had gathered them and brought them to him, her anguished, tearless eyes burning in her white face. It was the last thing she could do for him. The Barrys and Mrs. Lynde stayed with them that night. Diana, going to the east gable, where Anne was standing at her window, said gently "Anne dear, would you like to have me sleep with you tonight?" "Thank you, Diana." Anne looked earnestly into her friend s face. "I think you won t misunderstand me when I say I want to be alone. I m not afraid. I haven t been alone one minute since it happened-- and I want to be. I want to be quite silent and quiet and try to realize it. I can t realize it. Half the time it seems to me that Matthew can t be dead; and the other half it seems as if he must have been dead for a long time and I ve had this horrible dull ache ever since." Diana did not quite understand. Marilla s impassioned grief, breaking all the bounds of natural reserve and lifelong habit in its stormy rush, she could comprehend better than Anne s tearless agony. 倒置。ふつうの順にすれば、She could comprehend Marilla s impassioned grief, breaking all the bounds of natural reserve and lifelong habit in its stormy rush, better than Anne s tearless agony. 「Marilla s」は所有格。昼間、弔問客の来ているとき、マリラは大泣きをしていたが、アンは涙を流さなかった。そして、その上、ひとりにしてほしい、と言ったことも含め、ダイアナにはアンがよくは理解できなかった。この文は、そういうことでしょう But she went away kindly, leaving Anne alone to keep her first vigil with sorrow. Anne hoped that the tears would come in solitude. It seemed to her a terrible thing that she could not shed a tear for Matthew, whom she had loved so much and who had been so kind to her, Matthew who had walked with her last evening at sunset and was now lying in the dim room below with that awful peace on his brow. But no tears came at first, even when she knelt by her window in the darkness and prayed, looking up to the stars beyond the hills--no tears, only the same horrible dull ache of misery that kept on aching until she fell asleep, worn out with the day s pain and excitement. In the night she awakened, with the stillness and the darkness about her, and the recollection of the day came over her like a wave of sorrow. She could see Matthew s face smiling at her as he had smiled when they parted at the gate that last evening--she could hear his voice saying, "My girl--my girl that I m proud of." Then the tears came and Anne wept her heart out. Marilla heard her and crept in to comfort her. "There--there--don t cry so, dearie. It can t bring him back. It--it--isn t right to cry so. I knew that today, but I couldn t help it then. He d always been such a good, kind brother to me--but God knows best." "Oh, just let me cry, Marilla," sobbed Anne. "The tears don t hurt me like that ache did. Stay here for a little while with me and keep your arm round me--so. I couldn t have Diana stay, she s good and kind and sweet--but it s not her sorrow--she s outside of it and she couldn t come close enough to my heart to help me. It s our sorrow-- yours and mine. 「yours and mine」アンの home はふたりだけになってしまった Oh, Marilla, what will we do without him?" "We ve got each other, Anne. 「We ve got each other」いまひとつ、わかりづらい。have got は、have とほぼ同じだから……。日本語だと、「いる」と思うけれども、英語だと「持つ」という表現の違いか。なるほど。兄（弟）がいます、が、I have a brother になるように。「わたしたちにはお互いがいる」 I don t know what I d do if you weren t here--if you d never come. 仮定法 Oh, Anne, I know I ve been kind of strict and harsh with you maybe-- but you mustn t think I didn t love you as well as Matthew did, for all that. I want to tell you now when I can. It s never been easy for me to say things out of my heart, but at times like this it s easier. I love you as dear as if you were my own flesh and blood and you ve been my joy and comfort ever since you came to Green Gables." Two days afterwards they carried Matthew Cuthbert over his homestead threshold and away from the fields he had tilled and the orchards he had loved and the trees he had planted; and then Avonlea settled back to its usual placidity and even at Green Gables affairs slipped into their old groove and work was done and duties fulfilled with regularity as before, although always with the aching sense of "loss in all familiar things." 「"loss in all familiar things"」松本訳注第37章(3) p. 532参照 Anne, new to grief, thought it almost sad that it could be so--that they COULD go on in the old way without Matthew. She felt something like shame and remorse when she discovered 「that」アンが discover したことは文末までに４つ示されていて、それぞれ that節になっている。こういうのは話し言葉ではあまりないのではないいでしょうか that the sunrises behind the firs and the pale pink buds opening in the garden gave her the old inrush of gladness when she saw them--that Diana s visits were pleasant to her and that Diana s merry words and ways moved her to laughter and smiles--that, in brief, the beautiful world of blossom and love and friendship had lost none of its power to please her fancy and thrill her heart, that life still called to her with many insistent voices. "It seems like disloyalty to Matthew, somehow, to find pleasure in these things now that he has gone," she said wistfully to Mrs. Allan one evening when they were together in the manse garden. "I miss him so much--all the time-- and yet, Mrs. Allan, the world and life seem very beautiful and interesting to me for all. Today Diana said something funny and I found myself laughing. I thought when it happened I could never laugh again. And it somehow seems as if I oughtn t to." "When Matthew was here he liked to hear you laugh and he liked to know that you found pleasure in the pleasant things around you," said Mrs. Allan gently. "He is just away now; 「He is just away now」松本訳注第37章(4) p. 532参照 and he likes to know it just the same. I am sure we should not shut our hearts against the healing influences that nature offers us. But I can understand your feeling. I think we all experience the same thing. We resent the thought that anything can please us when someone we love is no longer here to share the pleasure with us, and we almost feel as if we were unfaithful to our sorrow when we find our interest in life returning to us." "I was down to the graveyard to plant a rosebush on Matthew s grave this afternoon," said Anne dreamily. "I took a slip of the little white Scotch rosebush his mother brought out from Scotland long ago; 「I took a slip of the little white Scotch rosebush」白い小さなスコッチローズから挿し木にする枝を取った。少し上のほうに even at Green Gables affairs slipped into their old groove グリーンゲイブルズでも、いろいろなことは元の習慣に戻った、とあるところにも、slip が使われているのですが、関連させていると思うのは考えすぎでしょうか 「from Scotland」マシューのお母さんはスコットランドからの移民。結婚して、夫婦でプリンスエドワード島に来たんでしょうね、きっと。単身もありえなくはないでしょうけども。または、両親とともにカナダにやってきて、そのときにバラも持ってきていて、結婚後、植えたか Matthew always liked those roses the best--they were so small and sweet on their thorny stems. It made me feel glad that I could plant it by his grave--as if I were doing something that must please him in taking it there to be near him. I hope he has roses like them in heaven. Perhaps the souls of all those little white roses that he has loved so many summers were all there to meet him. I must go home now. Marilla is all alone and she gets lonely at twilight." "She will be lonelier still, I fear, when you go away again to college," said Mrs. Allan. このアラン夫人の言葉は、転換点のひとつに相当 Anne did not reply; she said good night and went slowly back to green Gables. 「slowly」すぐ前では、もうおいとましなくては I must go home now. とアラン夫人にアンは言っているにも拘らず、歩みは遅い。アラン夫人の言葉を受けて、歩みが遅くなったわけですが、このアラン夫人の言葉が転換点であったのかは、すぐ後の文（グリーンゲイブルズの描写やマリラとの会話）からはわからないような構成になっている。しかも、その転換がどうだったのか、つまり、アンがどう考え、どう行動し、そして、周りの人がどんな風に協力、対応したかは、次章で明らかになる。転換点をあまり転換点らしく表現していないのは、たぶん、小説の技法としてはいいことなんでしょう。「Anne did not reply」があるので、転換点を強調してはいますが Marilla was sitting on the front door-steps and Anne sat down beside her. The door was open behind them, held back by a big pink conch shell with hints of sea sunsets in its smooth inner convolutions. Anne gathered some sprays of pale-yellow honeysuckle and put them in her hair. She liked the delicious hint of fragrance, as some aerial benediction, above her every time she moved. "Doctor Spencer was here while you were away," Marilla said. "He says that the specialist will be in town tomorrow and he insists that I must go in and have my eyes examined. I suppose I d better go and have it over. I ll be more than thankful if the man can give me the right kind of glasses to suit my eyes. 「the man」やはり、眼科医は男性であったか You won t mind staying here alone while I m away, will you? Martin will have to drive me in and there s ironing and baking to do." "I shall be all right. Diana will come over for company for me. I shall attend to the ironing and baking beautifully-- you needn t fear that I ll starch the handkerchiefs or flavor the cake with liniment." もちろん、これは、CHAPTER XX with impression? A Good Imagination Gone Wrong と CHAPTER XXI with impression? A New Departure in Flavorings のお話。ちょうど４年前、アン12歳 Marilla laughed. "What a girl you were for making mistakes in them days, Anne. 「in them days」これは、ふつうなら in those days ではないかしら You were always getting into scrapes. I did use to think you were possessed. Do you mind the time you dyed your hair?" もちろん、これは、CHAPTER XXVII with impression Vanity and Vexation of Spiritのお話。３年と少し前、アン13歳 "Yes, indeed. I shall never forget it," smiled Anne, touching the heavy braid of hair that was wound about her shapely head. 「the heavy braid of hair」３年経てば、髪もそれなりに十分伸びたでしょう。でも、小さいころのように編み下げにはしていないようですが。まだあまり長くはないでしょうし "I laugh a little now sometimes when I think what a worry my hair used to be to me--but I don t laugh MUCH, because it was a very real trouble then. I did suffer terribly over my hair and my freckles. My freckles are really gone; and people are nice enough to tell me my hair is auburn now--all but Josie Pye. She informed me yesterday that she really thought it was redder than ever, or at least my black dress made it look redder, 「black dress」松本訳注第37章(5) p. 532参照 and she asked me if people who had red hair ever got used to having it. Marilla, I ve almost decided to give up trying to like Josie Pye. I ve made what I would once have called a heroic effort to like her, but Josie Pye won t BE liked." "Josie is a Pye," said Marilla sharply, "so she can t help being disagreeable. I suppose people of that kind serve some useful purpose in society, but I must say I don t know what it is any more than I know the use of thistles. 「thistle」アザミ：スコットランドの国花。Pye 家も（Cuthbert 家や モンゴメリ家のように）スコットランドからの移民なのかしら Is Josie going to teach?" "No, she is going back to Queen s next year. First class licence が得られるはず So are Moody Spurgeon and Charlie Sloane. Jane and Ruby are going to teach and they have both got schools--Jane at Newbridge and Ruby at some place up west." "Gilbert Blythe is going to teach too, isn t he?" "Yes"--briefly. "What a nice-looking fellow he is," 「a nice-looking fellow」boyではなく、fellowだ！ Puffin Books 版では、a nice-looking young fellow said Marilla absently. 「absently」これは Gilbert の中に John を見ているからでしょう "I saw him in church last Sunday and he seemed so tall and manly. 「so tall and manly」お～、ほめてるほめてる He looks a lot like his father did at the same age. John Blythe was a nice boy. 「a nice boy」ここでは、boy となっている。little girl 同様、boy も英語では難しい We used to be real good friends, he and I. People called him my beau." Anne looked up with swift interest. "Oh, Marilla--and what happened?--why didn t you--" "We had a quarrel. I wouldn t forgive him when he asked me to. I meant to, after awhile--but I was sulky and angry and I wanted to punish him first. He never came back--the Blythes were all mighty independent. 「the Blythes」さっきは、Pye 家の話でしたが、家柄を強調するあたり、少々古い小説と感じてしまう。もちろん古いのですが But I always felt--rather sorry. I ve always kind of wished I d forgiven him when I had the chance." "So you ve had a bit of romance in your life, too," said Anne softly. "Yes, I suppose you might call it that. You wouldn t think so to look at me, would you? But you never can tell about people from their outsides. Everybody has forgot about me and John. I d forgotten myself. But it all came back to me when I saw Gilbert last Sunday." CHAPTER XXXVI UP CHAPTER XXXVIII 12 August 2007 今日 - | 昨日 - | Total - since 12 August 2007 last update 2007-08-12 21 35 11 (Sun)
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CHAPTER XXVII UP CHAPTER XXIX CHAPTER XXVIII An Unfortunate Lily Maid 第28章 不運な百合の乙女（松本訳） 「Lily Maid」松本訳注第28章(1) p. 512参照 "OF course you must be Elaine, Anne," said Diana. 「Elaine」松本訳注第28章(2) p. 512参照 "I could never have the courage to float down there." "Nor I," said Ruby Gillis, with a shiver. "I don t mind floating down when there s two or three of us in the flat and we can sit up. It s fun then. But to lie down and pretend I was dead--I just couldn t. I d die really of fright." "Of course it would be romantic," conceded Jane Andrews, "but I know I couldn t keep still. I d be popping up every minute or so to see where I was and if I wasn t drifting too far out. And you know, Anne, that would spoil the effect." "But it s so ridiculous to have a redheaded Elaine," mourned Anne. "I m not afraid to float down and I d love to be Elaine. But it s ridiculous just the same. Ruby ought to be Elaine because she is so fair and has such lovely long golden hair-- Elaine had `all her bright hair streaming down, you know. 「`all her bright hair streaming down 」松本訳注第28章(3) p. 512参照 And Elaine was the lily maid. Now, a red-haired person cannot be a lily maid." "Your complexion is just as fair as Ruby s," said Diana earnestly, "and your hair is ever so much darker than it used to be before you cut it." "Oh, do you really think so?" exclaimed Anne, flushing sensitively with delight. "I ve sometimes thought it was myself--but I never dared to ask anyone for fear she would tell me it wasn t. Do you think it could be called auburn now, Diana?" 「auburn」 金褐色（松本訳）： 第10章（CHAPTER X、CHAPTER X with impression?）で、大人になったら金褐色になるとリンド夫人に言われて喜んだ色。第37章（CHAPTER XXXVII、CHAPTER XXXVII with impression）では、金褐色になったと自分で言っている "Yes, and I think it is real pretty," said Diana, 「pretty」もうすぐギルバートにも同じことを言われる looking admiringly at the short, silky curls that clustered over Anne s head and were held in place by a very jaunty black velvet ribbon and bow. 「short, silky curls」 midsummer（すぐ下）の話なので、髪を緑色に染めたlate April（CHAPTER XXVIICHAPTER XXVII with impression）から３ヶ月くらい経ったところ。１ヶ月に１～２cmくらい伸びるでしょうから（若いともっと伸びる？）、５cmくらい伸びたはず。ほんとに刈り上げてしまったほどの長さだったわけですね They were standing on the bank of the pond, below Orchard Slope, where a little headland fringed with birches ran out from the bank; at its tip was a small wooden platform built out into the water for the convenience of fishermen and duck hunters. Ruby and Jane were spending the midsummer afternoon with Diana, and Anne had come over to play with them. Anne and Diana had spent most of their playtime that summer on and about the pond. Idlewild was a thing of the past, Mr. Bell having ruthlessly cut down the little circle of trees in his back pasture in the spring. Anne had sat among the stumps and wept, not without an eye to the romance of it; but she was speedily consoled, for, after all, as she and Diana said, big girls of thirteen, going on fourteen, アンは3月生まれ、ダイアナは2月生まれなので、春は13歳になったばかりのはずなのに「big girls」で、もうじき14歳になる、と考えるあたりがかわいらしい were too old for such childish amusements as playhouses, and there were more fascinating sports to be found about the pond. It was splendid to fish for trout over the bridge and the two girls learned to row themselves about in the little flat-bottomed dory Mr. Barry kept for duck shooting. 「duck shooting」 プリンスエドワード島は寒いので、日本の本州のように越冬しにカモ類がやってくるのではなく、夏に子育てのためにやってくるはず。なので、この時期はオンシーズン It was Anne s idea that they dramatize Elaine. They had studied Tennyson s poem in school the preceding winter, 「Tennyson s poem」松本訳注第28章(4) p. 513参照 the Superintendent of Education having prescribed it in the English course for the Prince Edward Island schools. They had analyzed and parsed it and torn it to pieces in general until it was a wonder there was any meaning at all left in it for them, 大変批判的なご指摘です 「torn it to pieces」後で、船がtorn offされますが、単語の重なりは気のせいかしら but at least the fair lily maid and Lancelot and Guinevere and King Arthur had become very real people to them, and Anne was devoured by secret regret that she had not been born in Camelot. 「Lancelot」松本訳注第28章(5) p. 513参照 「Guinevere」松本訳注第28章(6) p. 513参照 「King Arthur」松本訳注第28章(7) p. 513参照 「Camelot」松本訳注第28章(8) p. 513参照 Those days, she said, were so much more romantic than the present. 「romantic」この章の最後に呼応している Anne s plan was hailed with enthusiasm. The girls had discovered that if the flat were pushed off from the landing place it would drift down with the current under the bridge and finally strand itself on another headland lower down which ran out at a curve in the pond. They had often gone down like this and nothing could be more convenient for playing Elaine. "Well, I ll be Elaine," said Anne, yielding reluctantly, for, although she would have been delighted to play the principal character, yet her artistic sense demanded fitness for it and this, she felt, her limitations made impossible. "Ruby, you must be King Arthur and Jane will be Guinevere and Diana must be Lancelot. But first you must be the brothers and the father. 「the brothers and the father」松本訳注第28章(9) p. 514参照 We can t have the old dumb servitor because there isn t room for two in the flat when one is lying down. 「the old dumb servitor」松本訳注第28章(10) p. 514参照 We must pall the barge all its length in blackest samite. That old black shawl of your mother s will be just the thing, Diana." 「 the barge all its length in blackest samite」松本訳注第28章(11) p. 514参照 The black shawl having been procured, Anne spread it over the flat and then lay down on the bottom, with closed eyes and hands folded over her breast. "Oh, she does look really dead," whispered Ruby Gillis nervously, watching the still, white little face under the flickering shadows of the birches. "It makes me feel frightened, girls. Do you suppose it s really right to act like this? 悪い予感がすでにある Mrs. Lynde says that all play-acting is abominably wicked." "Ruby, you shouldn t talk about Mrs. Lynde," said Anne severely. "It spoils the effect because this is hundreds of years before Mrs. Lynde was born. Jane, you arrange this. It s silly for Elaine to be talking when she s dead." Jane rose to the occasion. Cloth of gold for coverlet there was none, but an old piano scarf of yellow Japanese crepe was an excellent substitute. 「Japanese crepe」松本訳注第28章(12) p. 514参照 「crepe」Puffin Books版では、斜字体になっていて、ひとつめのeにはアクサンシルコンフレックスがついており（なので《クレープ》と発音）、フランス語からの借りものと主張している。縮緬 「Japanese crepe」松本訳注第28章(12) p. 514参照 A white lily was not obtainable just then, but the effect of a tall blue iris placed in one of Anne s folded hands was all that could be desired. "Now, she s all ready," said Jane. "We must kiss her quiet brows 「We must kiss her quiet brows」松本訳注第28章(13) p. 514参照 and, Diana, you say, `Sister, farewell forever, 「`Sister, farewell forever, 」松本訳注第28章(14) p. 514参照 「farewell」古風な！ のは詩の言葉だから and Ruby, you say, `Farewell, sweet sister, both of you as sorrowfully as you possibly can. 「`Farewell, sweet sister, 」松本訳注第28章(15) p. 514参照 Anne, for goodness sake smile a little. You know Elaine `lay as though she smiled. 「`lay as though she smiled. 」松本訳注第28章(15) p. 514参照 That s better. Now push the flat off." The flat was accordingly pushed off, scraping roughly over an old embedded stake in the process. Diana and Jane and Ruby only waited long enough to see it caught in the current and headed for the bridge before scampering up through the woods, across the road, and down to the lower headland where, as Lancelot and Guinevere and the King, they were to be in readiness to receive the lily maid. For a few minutes Anne, drifting slowly down, enjoyed the romance of her situation to the full. Then something happened not at all romantic. The flat began to leak. In a very few moments it was necessary for Elaine to scramble to her feet, 「Elaine」まだ、ごっこしてる pick up her cloth of gold coverlet and pall of blackest samite and gaze blankly at a big crack in the bottom of her barge through which the water was literally pouring. That sharp stake at the landing had torn off the strip of batting nailed on the flat. 「batting」Webster s Revised Unabridged, 1913 Editionによると（OneLookで検索してみつけた）、Cotton in sheets, prepared for use in making quilts, etc.; as, cotton batting. Yahoo!やGoogleで「strip of batting」を検索するとたくさん出てくるのですが、やはり布。とすると、布切れを船底の隙間を埋めるために釘で打ち付けていたのでしょうか。何かしっくり来ないのですが。もとからボロ船なのかもしれませんけど。 松本訳では「板切れ」。でも、英語で板切れならば「batting」ではなく、「batten」ではないでしょうか。battenは船舶の防水用の当て木という意味があるのでぴったりです。しかし、「strip of batten」はYahoo!やGoogleであまり引っかかりませんでした。Puffin Books版でもbattingなので、ここは謎です Anne did not know this, but it did not take her long to realize that she was in a dangerous plight. 「plight」苦境、（悪い）状態。この普通の意味に加え、[古]で誓約、婚約の意味もあるようです。すぐあとで、ギルバートに助けてもらうことが、dangerous plight＝危険な約束（友達になんかなる気がない）ということを暗示している、もしくは、アンがギルバートに対してどきどきすることを暗示している、と考えてしまうのは、深読みすぎかしら At this rate the flat would fill and sink long before it could drift to the lower headland. Where were the oars? Left behind at the landing! Anne gave one gasping little scream which nobody ever heard; she was white to the lips, but she did not lose her self-possession. There was one chance--just one. "I was horribly frightened," she told Mrs. Allan the next day, "and it seemed like years while the flat was drifting down to the bridge and the water rising in it every moment. I prayed, Mrs. Allan, most earnestly, but I didn t shut my eyes to pray, for I knew the only way God could save me was to let the flat float close enough to one of the bridge piles for me to climb up on it. You know the piles are just old tree trunks and there are lots of knots and old branch stubs on them. It was proper to pray, but I had to do my part by watching out and right well I knew it. I just said, `Dear God, please take the flat close to a pile and I ll do the rest, over and over again. Under such circumstances you don t think much about making a flowery prayer. But mine was answered, for the flat bumped right into a pile for a minute and I flung the scarf and the shawl over my shoulder and scrambled up on a big providential stub. And there I was, Mrs. Allan, clinging to that slippery old pile with no way of getting up or down. It was a very unromantic position, but I didn t think about that at the time. You don t think much about romance when you have just escaped from a watery grave. 「`a watery grave 」松本訳注第28章(17) p. 515参照 I said a grateful prayer at once and then I gave all my attention to holding on tight, for I knew I should probably have to depend on human aid to get back to dry land." 「dry land」：「watery grave」と対比的 The flat drifted under the bridge and then promptly sank in midstream. Ruby, Jane, and Diana, already awaiting it on the lower headland, saw it disappear before their very eyes and had not a doubt but that Anne had gone down with it. For a moment they stood still, white as sheets, frozen with horror at the tragedy; then, shrieking at the tops of their voices, they started on a frantic run up through the woods, never pausing as they crossed the main road to glance the way of the bridge. Anne, clinging desperately to her precarious foothold, saw their flying forms and heard their shrieks. Help would soon come, but meanwhile her position was a very uncomfortable one. The minutes passed by, each seeming an hour to the unfortunate lily maid. Why didn t somebody come? Where had the girls gone? Suppose they had fainted, one and all! 「fainted」 まだ、気絶することにロマンチックなあこがれがあるのでしょうか Suppose nobody ever came! Suppose she grew so tired and cramped that she could hold on no longer! Anne looked at the wicked green depths below her, wavering with long, oily shadows, and shivered. Her imagination began to suggest all manner of gruesome possibilities to her. Then, just as she thought she really could not endure the ache in her arms and wrists another moment, Gilbert Blythe came rowing under the bridge in Harmon Andrews s dory! 「dory」松本訳注第28章(18) p. 515参照 Gilbert glanced up and, much to his amazement, beheld a little white scornful face looking down upon him with big, frightened but also scornful gray eyes. 「behold」 [雅]見る。芝居じみている。ギルバートが、なので、意味あがある、のかも "Anne Shirley! How on earth did you get there?" he exclaimed. Without waiting for an answer he pulled close to the pile and extended his hand. There was no help for it; Anne, clinging to Gilbert Blythe s hand, scrambled down into the dory, where she sat, drabbled and furious, in the stern with her arms full of dripping shawl and wet crepe. It was certainly extremely difficult to be dignified under the circumstances! "What has happened, Anne?" asked Gilbert, taking up his oars. "We were playing Elaine" explained Anne frigidly, without even looking at her rescuer, "and I had to drift down to Camelot in the barge--I mean the flat. The flat began to leak and I climbed out on the pile. The girls went for help. Will you be kind enough to row me to the landing?" Gilbert obligingly rowed to the landing and Anne, 「obligingly」 disdaining assistance, sprang nimbly on shore. "I m very much obliged to you," 「obliged」 上に呼応。「I m very much obliged to you」堅い感謝のコトバ she said haughtily as she turned away. But Gilbert had also sprung from the boat and now laid a detaining hand on her arm. "Anne," he said hurriedly, "look here. Can t we be good friends? I m awfully sorry I made fun of your hair that time. I didn t mean to vex you and I only meant it for a joke. Besides, it s so long ago. I think your hair is awfully pretty now--honest I do. 「awfully pretty」 最大限に褒めてる！ Let s be friends." For a moment Anne hesitated. She had an odd, newly awakened consciousness under all her outraged dignity that the half-shy, half-eager expression in Gilbert s hazel eyes was something that was very good to see. Her heart gave a quick, queer little beat. But the bitterness of her old grievance promptly stiffened up her wavering determination. That scene of two years before flashed back into her recollection as vividly as if it had taken place yesterday. Gilbert had called her "carrots" and had brought about her disgrace before the whole school. Her resentment, which to other and older people might be as laughable as its cause, was in no whit allayed and softened by time seemingly. She hated Gilbert Blythe! She would never forgive him! "No," she said coldly, "I shall never be friends with you, Gilbert Blythe; and I don t want to be!" "All right!" Gilbert sprang into his skiff with an angry color in his cheeks. 「skiff」 さっきはdoryと書いてたのに…… "I ll never ask you to be friends again, Anne Shirley. And I don t care either!" He pulled away with swift defiant strokes, and Anne went up the steep, ferny little path under the maples. She held her head very high, but she was conscious of an odd feeling of regret. She almost wished she had answered Gilbert differently. Of course, he had insulted her terribly, but still--! Altogether, Anne rather thought it would be a relief to sit down and have a good cry. She was really quite unstrung, for the reaction from her fright and cramped clinging was making itself felt. Halfway up the path she met Jane and Diana rushing back to the pond in a state narrowly removed from positive frenzy. They had found nobody at Orchard Slope, both Mr. and Mrs. Barry being away. Here Ruby Gillis had succumbed to hysterics, and was left to recover from them as best she might, while Jane and Diana flew through the Haunted Wood and across the brook to Green Gables. There they had found nobody either, for Marilla had gone to Carmody and Matthew was making hay in the back field. "Oh, Anne," gasped Diana, fairly falling on the former s neck and weeping with relief and delight, "oh, Anne--we thought--you were--drowned--and we felt like murderers--because we had made--you be--Elaine. And Ruby is in hysterics--oh, Anne, how did you escape?" "I climbed up on one of the piles," explained Anne wearily, "and Gilbert Blythe came along in Mr. Andrews s dory and brought me to land." "Oh, Anne, how splendid of him! Why, it s so romantic!" said Jane, 「it s so romantic!」アヴォンリーにもあるのです finding breath enough for utterance at last. "Of course you ll speak to him after this." "Of course I won t," flashed Anne, with a momentary return of her old spirit. "And I don t want ever to hear the word `romantic again, Jane Andrews. I m awfully sorry you were so frightened, girls. It is all my fault. I feel sure I was born under an unlucky star. Everything I do gets me or my dearest friends into a scrape. We ve gone and lost your father s flat, Diana, and I have a presentiment that we ll not be allowed to row on the pond any more." Anne s presentiment proved more trustworthy than presentiments are apt to do. Great was the consternation in the Barry and Cuthbert households when the events of the afternoon became known. "Will you ever have any sense, Anne?" groaned Marilla. "Oh, yes, I think I will, Marilla," returned Anne optimistically. A good cry, indulged in the grateful solitude of the east gable, had soothed her nerves and restored her to her wonted cheerfulness. "I think my prospects of becoming sensible are brighter now than ever." "I don t see how," said Marilla. "Well," explained Anne, "I ve learned a new and valuable lesson today. Ever since I came to Green Gables I ve been making mistakes, and each mistake has helped to cure me of some great shortcoming. The affair of the amethyst brooch cured me of meddling with things that didn t belong to me. The Haunted Wood mistake cured me of letting my imagination run away with me. The liniment cake mistake cured me of carelessness in cooking. Dyeing my hair cured me of vanity. I never think about my hair and nose now--at least, very seldom. And today s mistake is going to cure me of being too romantic. I have come to the conclusion that it is no use trying to be romantic in Avonlea. It was probably easy enough in towered Camelot hundreds of years ago, 「towered Camelot」松本訳注第28章(19) p. 515参照 but romance is not appreciated now. I feel quite sure that you will soon see a great improvement in me in this respect, Marilla." "I m sure I hope so," said Marilla skeptically. But Matthew, who had been sitting mutely in his corner, laid a hand on Anne s shoulder when Marilla had gone out. "Don t give up all your romance, Anne," he whispered shyly, "a little of it is a good thing--not too much, of course--but keep a little of it, Anne, keep a little of it." CHAPTER XXVII UP CHAPTER XXIX 2007年6月14日 2007年6月17日（リンクのミスを修正） 今日 - | 昨日 - | Total - since 14 June 2007 last update 2007-06-17 17 37 34 (Sun)
https://w.atwiki.jp/vocaloidenglishlyric/pages/708.html
【Tags Irojiro Luka Miku Nike Rushuka tE E】 Original Music title Endless End Romaji music title Endless End Music Lyrics written by ルシュカ (Rushuka) Music arranged by ルシュカ (Rushuka), 色白 (Irojiro), ニケ (Nike) Singer(s) 初音ミク (Hatsune Miku), Chorus 巡音ルカ (Megurine Luka) Click here for the original Japanese Lyrics English Lyrics (translated by vgboy / vgperson)： "I like you" - I see that "I m waiting" - I know that "It s impossible" - I don t see why "Don t forget" - forget me? "It hurts" - don t say that "I can t sleep" - then close your eyes "I m afraid" - just believe "You look foolish" - I really do Instead of abandoning all our past days, We prayed for our future happiness In making such a decision, Think what we ve now regained This is the way We learn how to part Remember back to the past, Remember how to make memories Repeating as if forever, always coming back We renounced what we d learned The end for helpless fools... "I like you" - I see that "I m waiting" - I know that "It s impossible" - I don t see why "Don t forget" - forget me? "It hurts" - don t say that "I can t sleep" - then close your eyes "I m afraid" - just believe "You look foolish" - well, I m sorry So that the bizarre rhythm would not stop, We soaked in our miserable weakness You ignored distress at your convenience, And now, how I want to meet you... Why is this how We learn how to part? As now is defeated by later, We forget how to forget our sorrow Repeating as if forever, me loving you My shouts wore away The fate of helpless fools... "See you later" - no, that s not it "Someday" - yes, surely "But..." For now... "So long..." This is the way We learn how to part Remember back to the past, Remember how to make memories Repeating as if forever, always coming back We renounced what we d learned The end for helpless fools... Romaji lyrics (transliterated by vgboy / vgperson)： "Suki da yo" wakatteru "Matteru yo" shitteru "Muri nano" wakaranai "Wasurenai" boku datte "Tsurai yo" iwanaide "Nemurenai" me o tojite "Kowai no" shinjite "Baka mitai" honto ni ne Sore made no hibi o suteru kawari ni Kore kare no shiawase o negatta Are hodo no ketsudan o kudashite Imasara nani o torikaesu toiu no Bokura koushite Wakare no tsuge-hou o shitte Kioku o kako ni nagashite Omoide no tsukuri-hou o oboeteiku Itsumo sou kurikaeshi burikaeshi Manabu koto o houki shita Aware na orokamono no ketsumatsu "Suki da yo" wakatteru "Matteru yo" shitteru "Muri nano" wakaranai "Wasurenai" boku datte "Tsurai yo" iwanaide "Nemurenai" me o tojite "Kowai no" shinjite "Baka mitai" gomen ne Kuruisou na hyoushi ga tomaranu you ni Nasakenai yowasa o nurashitanda yo Tsugou yoku kujuu o sashioite kimi wa Imagoro aitai da nante Bokura doushite Wakare no tsuge-hou o shitte Ima o ato ni taoshite Kanashisa no wasure-hou ushinatteiku Itsumo sou kurikaeshi kimi o aishi Sakebu koe mo karehateta Aware na orokamono no yukusue "Mata ne" chigau yo "Itsuka" kitto "Demo ne" ima wa "Sayonara" Bokura koushite Wakare no tsuge-hou o shitte Kioku o kako ni nagashite Omoide no tsukuri-hou o oboeteiku Itsumo sou kurikaeshi burikaeshi Manabu koto o houki shita Aware na orokamono no ketsumatsu
https://w.atwiki.jp/bemani2dp/pages/4205.html
GENRE TITLE ARTIST bpm notes CLEAR RATE THEME SONG Winner s Proof ft. KANASA from bless4 BEMANI Sound Team "HuΣeR" kors k 100 ? n%（yyyy/mm/dd） 攻略・コメント 名前 コメント
https://w.atwiki.jp/wikileaks/pages/45.html
ウィキリークスは、ネットの危険地帯にある このページでは、以下の記事の翻訳文をまとめています。 WikiLeaks in a Dark Internet Neighborhood | Malware Blog | Trend Micro http //blog.trendmicro.com/wikileaks-in-a-dangerous-internet-neighborhood/ 目次 記事翻訳 【関連】「wikileaks.info」側の説明 記事翻訳 WikiLeaks in a Dangerous Internet Neighborhood （ウィキリークスは、ネットの危険地帯にある） Dec 12 6 36 pm (UTC-7) | by Feike Hacquebord (Senior Threat Researcher) The WikiLeaks main domain, Wikileaks.org, currently redirects to mirror.wikileaks.info. The latter site is hosted on IP address 92.241.190.202 registered to Heihachi Ltd. Heihachi Ltd. is known as a bulletproof, blackhat-hosting provider in Russia that is a safe haven for criminals and fraudsters. It hosts a long list of criminally related domains. Among these domains are banking fraud domains, carders’ (criminals who trade stolen credit card information) websites, malware sites, and phishing sites. No matter what your political view is, this is rather disturbing. （ウィキリークスのメインのドメイン「Wikileaks.org」は、現在「mirror.wikileaks.info」にリダイレクトされる。後者のサイトは有限会社Heihachiに登録されたIPアドレス「92.241.190.202」にホスティングされている。有限会社Heihachiは、ロシアにある防弾/ブラックハット・ホスティングプロバイダであり、犯罪者や詐欺師たちの安全な避難場所として知られている。それらのドメイン群の中では、詐欺ドメインや、「carder」（盗難クレジットカードの情報を取引する犯罪者）たちのウェブサイト群、マルウェアのサイト群、そしてフィッシングサイト群が運営されている。あなたの政治観が何であろうと、これはかなり厄介である。 We at Trend Micro are committed to protecting our customers against threats on the Internet. The Trend Micro Smart Protection Network automatically assigns a very low reputation score to domain name wikileaks.info not because of political controversy but because of actual facts about the bad neighborhood where this domain name is hosted. To give you an idea, here are some illustrious neighbors paypal-securitycenter.com, carders.kz, idchecking.ir (phishing), and postbank-sicherung.com. （我々はトレンドマイクロ社にて、インターネット上の脅威からお客様を保護するよう努力している。The Trend Micro Smart Protection Networkは、政治的な議論が理由なのではなく、そのドメインがホスティングされる場所が危険地帯であるという現にあった事実によって、ドメイン名「wikileaks.info」に対して自動的に非常に低い評価スコアを割り当てている。参考までに申し上げると、そこには幾つかの有名な隣人がいる：「paypal-securitycenter.com」、「carders.kz」、「idchecking.ir (phishing)」、そして「postbank-sicherung.com」である。） We don’t know whether wikileaks.org has perhaps been compromised or whether WikiLeaks is knowingly getting services from a blackhat provider. Either way, we assess the wikileaks.info domain as highly risky and we do not recommend visiting this site as long as it is hosted by Heihachi Ltd. （我々には、「wikileaks.org」にひょっとしたら問題が起きているのか、あるいはウィキリークスが故意にblackhatプロバイダーからサービスを得ているかどうかは分からない。いずれにせよ、我々は「wikileaks.info」ドメインは危険度が高いと評価するし、それが有限会社Heihachiでホスティングされている限り、このサイトを訪れることは勧めない。） 【関連】「wikileaks.info」側の説明 ※2010/12/16(GMT？)に更新されたhttp //wikileaks.info/about.htmlを翻訳しました→「wikileaks.info」について以下のことが説明されています。サイト「wikileaks.info」はウィキリークスに所属していない（＝非公式サイト） 「wikileaks.info」ドメインは、2009年5月にウィキリークスがドメインを放棄した際に取得 2010/12/11(日)AM4 00に「wikileaks.org」が「mirror.wikileaks.info」に転送されるようになり、アクセスが急増した関係でロシアのサーバに移転
https://w.atwiki.jp/mcmaster/pages/237.html
マーキングコードリスト(MARKING CODE LIST) LIST x(1) LIST x(2) xのリスト説明のページへ(MARKING CODE ｢x｣ TOP MENU)] 次のリストx(n)へ(FORWARD) 前のリストx(n)へ(BACKWARD) マーキングコードリスト MARKING CODE LIST [FORMAT02] * , ** , *** , ****,_=date code,Lot No. etc. #=hfe rank. MARKINGCODE PART No. MAKER PACKAGENAME MAKERPACKAGE NAME PINCOUNT etc. xのリスト説明のページへ(MARKING CODE ｢x｣ TOP MENU)] 次のリストx(n)へ(FORWARD) 前のリストx(n)へ(BACKWARD) リンク