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Source text - English Mylonite is a ductilely deformed rock formed by the accumulation of large shear strain, in ductile fault zones. There are many different views on the formation of mylonite, but it is generally agreed that crystal-plastic deformation must have occurred, and that fracturing and cataclastic flow are secondary processes in the formation of mylonite. Mechanical abrasion of grains by milling does not occur, although this was originally thought to be the process that formed mylonite.
Translation - Japanese マイロナイトは延性的に変形した岩石であり、これらの変形は断層帯で生じる巨大なせん断ひずみの蓄積によって生じる。マイロナイト生成にはさまざまな見方があるが、一般的には結晶の塑性変形によって引き起されており、岩盤の割れ目や破砕はマイロナイト生成の上での二次的なプロセスであると考えられている。以前は破砕力による物理的な磨耗がマイロナイト生成の原因と考えられていたが、現在そのようには考えられていない。
English to Japanese: Le Mirliton - LITERATURE
Source text - English An exceptional complete copy of this very scarce periodical, edited by the famous Montmartre chansonnier Aristide Bruant, made immortal by Toulouse-Lautrec’s poster and the illustrations to his chansons by Steinlen. Toulouse-Lautrec was a patron of Bruant’s cabaret “Le Mirliton” (“... situé près de l’Elysée-Montmartre. Le plus chouette Bal de Paris”), and it was there that he had his first exhibition in 1886. This exhibition is announced in the middle-spread of no. 29 (December 1886). There are 5 illustrations by Toulouse-Lautrec (signing Tréclau) in this periodical, 4 of which were included in the year 1887, and 1 in the year 1894. The remaining issues are nearly all illustrated by Steinlen (at first under the pseudonym Jean Caillou), and most of them are coloured by hand, on the front page of the weekly issues, where often text and musical-scores of Bruant’s chansons were published. In the chansons and short-stories (in slang) as well as in the illustrations the style of Bruants cabaret is clearly reflected, the subject and hero being the proletarian: a change from the gay Paris-image of the middle-class and demi-monde. Other illustrations were: d’Uzes, Ibels, Heidbrinck, and they are partly woodcuts, partly lithographs, mostly coloured. Other contributors were: G. Courteline, Letourneux, Ch. Leroy, Paul Arène, Xanrof, J. Jouy, a.o. The first 100 issues and all issues of the 3rd series measure 14 x 27.5 cm; from nos. 101 till the end of the 2nd series the journal adopted the folio-size. After 1895 publication became very irregular, suspended altogether from June 1896 till May 1903.