Predictive syntactic processing plays an essential role in language comprehension. In our previous study using Japanese object-verb (OV) sentences, we showed that the left inferior frontal gyrus (IFG) responses to a verb increased at 120–140 ms after the verb onset, indicating predictive effects caused by a preceding object. To further elucidate the automaticity of the predictive effects in the present magnetoencephalography study, we examined whether a subliminally presented verb (“subliminal verb”) enhanced the predictive effects on the sentence-final verb (“target verb”) (...) unconsciously, i.e., without awareness. By presenting a subliminal verb after the object, enhanced predictive effects on the target verb would be detected in the OV sentences when the transitivity of the target verb matched with that of the subliminal verb (“congruent condition”), because the subliminal verb just after the object could determine the grammaticality of the sentence. For the OV sentences under the congruent condition, we observed significantly increased left IFG responses at 140–160 ms after the target verb onset. In contrast, responses in the precuneus and midcingulate cortex (MCC) were significantly reduced for the OV sentences under the congruent condition at 110–140 and 280–300 ms, respectively. By using partial Granger causality analyses for the OV sentences under the congruent condition, we revealed a bidirectional interaction between the left IFG and MCC at 60–160 ms, as well as a significant influence from the MCC to the precuneus. These results indicate that a top-down influence from the left IFG to the MCC, and then to the precuneus, is critical in syntactic decisions, whereas the MCC shares its task-set information with the left IFG to achieve automatic and predictive processes of syntax. (shrink)

The connection between Kabuki theatre and Japanese woodblock prints of the Edo period (1603–1868), especially in their portraits of actors called yakusha‑e, offers an exceptional opportunity to analyse perceptions of the sex of the actor: as the hero of the drama, as well as the character performed on the stage. Both phenomena flourished in the Edo period and had a crucial impact on the visual art of the time, inspiring pictures of the Floating World (Jap. Ukiyo‑e). The images on Ukiyo‑e (...) woodblock prints serve as a pretext for approaching the matter of whether to portray an actor as a performer (a man) or as the character performed by him (which could also be a woman, as in the case of the onnagata actor). The author focuses on the actors’ identification with their own sex (only men appeared on the Kabuki stage) and on cases of breaking the convention between the real actor and his stage emploi. In the first part, the paper discusses the historical background of Kabuki theatre, which was invented by a woman (Izumo‑no Okuni) and then after a few government edicts, was allowed to be performed on the stage only by adult men. Since the Kabuki tradition has successfully continued until today, apart from surveys of theatrical archives, the author supports her arguments by also referring to contemporary phenomena, especially the Kabuki performances she has watched in Japan (in such theatres as: Kabuki‑za, Minami‑za, the National Theatre in Tokyo, and Zenshin‑za), and through interviews with actors and people of the theatre. In parallel, Ukiyo‑e images of the Edo period are studied, with core research from the National Museum in Kraków, Poland, and its collection of Japanese woodblock prints (including over 4600 original works from the Edo Period), and with special attention paid to the yakusha‑e portrait by Utagawa Kuniyoshi. (shrink)