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RAE(2014) describes the quantifier ‘poco’ used in the pseudo-partitive construction [un poco de NP] as a masculine noun, translating to ‘a small amount’ in Spanish. This construction pairs an uncountable noun, without an overt determiner, as its complement. Gutiérrez Rodríguez (2008b) contends that in pseudo-partitive constructions, lexicalized quantifier nouns occupy the functional head position Q, contrasting with quantifier nouns like counters, measure nouns, and collective nouns, which occupy the lexical head N. This study compares and analyzes the quantifier proposals by Gutiérrez Rodríguez(2008b) and Sáez(2017), proposing that the quantifier ‘poco’ in [un poco de NP] resides in the head of the functional category OrP(Orientation Phrase). It also posits that the indefinite article appears in the head of another functional category, DegP(Degree Phrase), thus forming a pseudo-partitive construction that functions as a determiner-like complex quantifier.

Hayao Miyazaki's animated films The Wind Rises(2013) and The Boy and the Heron(2023) are set in Japan during the Pacific War in World War II. Unlike his previous works, which primarily depicted wars in a fantastical setting, these films explicitly reference the historical context of the “Pacific War” waged by Japan during World War II. However, the films were heavily criticized for their setting in the “Pacific War“ without directly or actively critiquing the war. But is the War of the past really the subject the director intends to explore in these films? To more deeply understand the director's intentions and messages, it is essential to consider not only his stated aims in the proposal but also the period in which the films were planned and produced. This article analyzes The Wind Rises and The Boy and the Heron concurrently, considering the directors' intentions and global trends at the time of their conception and production, to delve into the themes of 'War' and 'Life'.

This study explores how the concept of ‘taste (goût)’ in 18th-century France influenced translation practices, particularly focusing on Voltaire’s translation of Shakespeare. Profoundly influenced by Shakespeare’s works during his exile in England, Voltaire endeavored to integrate them into French literature, despite grappling with the traditional norms of French taste and aesthetic standards. In his initial translation, he modified Shakespeare’s free expressions to align with French readers’ preferences. Subsequently, he attempted a more literal translation to emphasize Shakespeare’s perceived shortcomings. Lastly, in his third effort, he refined his previous translations to strike a balance between the French literary tradition and Shakespeare’s original expressiveness. Voltaire’s translations illustrate the role of the ‘taste’ concept in translation practices and highlight its impact on the preferences and values of 18th-century French literature. This case study offers valuable insights into the dynamic interplay between traditional French aesthetics and the incorporation of foreign literary elements, shedding light on the evolution of French literary taste amid foreign artistic influences.