{"id":4068,"date":"2023-08-18T13:14:09","date_gmt":"2023-08-18T04:14:09","guid":{"rendered":"https:\/\/www.hituzi.co.jp\/hituzigusa\/?p=4068"},"modified":"2023-08-18T13:14:11","modified_gmt":"2023-08-18T04:14:11","slug":"architecture-10","status":"publish","type":"post","link":"https:\/\/www.hituzi.co.jp\/hituzigusa\/2023\/08\/18\/architecture-10\/","title":{"rendered":"\u65e5\u672c\u8a9e\u8868\u8a18\u306e\u30a2\u30fc\u30ad\u30c6\u30af\u30c1\u30e3\uff1a\u7b2c10\u56de\uff1aBase Text \uff0fThe Architecture of Written Japanese: 10 The Base Text\uff5c\u4eca\u91ce\u771f\u4e8c\u30fbChris Lowy"},"content":{"rendered":"\n<h4 class=\"has-text-align-right wp-block-heading\">\u4eca\u91ce\u771f\u4e8c&nbsp; 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Text\u300d\u306b\u306f\u306a\u3044\u8a9e\u3067\u3001\u5982\u4ead\u304c\u539f\u8a69\u306e\u7406\u89e3\u3001\u7ffb\u8a33\u306e\u305f\u3081\u306b\u88dc\u3063\u3066\u3044\u308b\u3002\u307e\u305f\u3001\u300c\u30e4\u30a6\u3005\u3005\u30a2\u30ab\u30eb\u30af\u30ca\u30c4\u30c6\u30df\u30ec\u30d0\u300d\u3082\u539f\u8a69\u306b\u306f\u306a\u3044\u304c\u3001\u3059\u3079\u3066\u7247\u4eee\u540d\u3067\u6587\u5b57\u5316\u3059\u308b\u3053\u3068\u306b\u3088\u3063\u3066\u3001\u539f\u8a69\u306b\u306f\u306a\u3044\u3053\u3068\u3092\u3042\u3089\u308f\u3057\u3066\u3044\u308b\u3068\u601d\u308f\u308c\u308b\u3002<\/p>\n\n\n\n<p>\u3000\u73fe\u5728\u306f\u3001\u300c\u6f22\u5b57\u5e73\u4eee\u540d\u4ea4\u3058\u308a\u300d\u3092\u6a19\u6e96\u7684\u306a\u300c\u8868\u8a18\u4f53\u300d\u3068\u3057\u3001\u5916\u6765\u8a9e\u3084\u52d5\u690d\u7269\u540d\u3001\u5834\u5408\u306b\u3088\u3063\u3066\u306f\u30aa\u30ce\u30de\u30c8\u30da\u306a\u3069\u306b\u7247\u4eee\u540d\u3092\u4f7f\u3046\u3053\u3068\u304c\u591a\u3044\u306e\u3067\u3001\u304b\u3048\u3063\u3066\u6587\u5b57\u7a2e\u306b\u5bfe\u3057\u3066\u306e\u300c\u8aad\u307f\u624b\u300d\u306e\u610f\u8b58\u304c\u5e0c\u8584\u306b\u306a\u3063\u3066\u3044\u308b\u304b\u3082\u3057\u308c\u306a\u3044\u304c\u3001\u6c5f\u6238\u6642\u4ee3\u306b\u304a\u3044\u3066\u306f\u3001\u6f22\u5b57\u30fb\u5e73\u4eee\u540d\u30fb\u7247\u4eee\u540d\u304c1\u3064\u306e\u6587\u7ae0\u30011\u3064\u306e\u30c6\u30ad\u30b9\u30c8\u306e\u4e2d\u3067\u6df7\u305c\u7528\u3044\u3089\u308c\u308b\u3053\u3068\u306f\u591a\u304f\u306f\u306a\u304b\u3063\u305f\u3002\u3000<\/p>\n\n\n\n<p>\u3000\u300c\u539f\u8a69\u300d\u306f\u4e03\u8a00\u7d76\u53e5\u3067\u3042\u308b\u306e\u3067\u3001\u6f22\u5b57\u304c28\u4f7f\u308f\u308c\u3066\u3044\u308b\u304c\u3001\u300c\u8a33\u6ce8\u300d\u306b\u306f\u3001\u300c\u539f\u8a69\u300d\u7b2c3\u53e5\uff08\u8ee2\u53e5\uff09\u306e\u300c\u5165\u300d\u5b57\u304c\u4f7f\u308f\u308c\u3066\u304a\u3089\u305a\u3001\u3055\u3089\u306b\u3001\u7b2c2\u53e5\uff08\u627f\u53e5\uff09\u306b\u300c\u9060\u5bfa\u300d\u306e2\u5b57\u304c\u52a0\u3048\u3089\u308c\u3066\u3044\u308b\u306e\u3067\u3001\u300c\u8a33\u6ce8\u300d\u306b\u306f\u6f22\u5b5729\u5b57\u304c\u4f7f\u308f\u308c\u3066\u3044\u308b\u3002\u5c11\u3057\u306e\u51fa\u5165\u308a\u306f\u3042\u308b\u304c\u3001\u307b\u307c\u300c\u539f\u8a69\u300d\u306b\u4f7f\u308f\u308c\u3066\u3044\u308b\u6f22\u5b57\u304c\u300c\u8a33\u6ce8\u300d\u306b\u3082\u4f7f\u308f\u308c\u3066\u3044\u3066\u3001\u305d\u3046\u3057\u305f\u610f\u5473\u5408\u3044\u306b\u304a\u3044\u3066\u300cBase 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\u304c\u305f\u304b\u3044\u3068\u3044\u3046\u3053\u3068\u306f\u8a3c\u660e\u306f\u3055\u308c\u3066\u3044\u306a\u3044\u3068\u8003\u3048\u308b\u3057\u3001formality\u3092\u4f55\u3092\u3082\u3063\u3066\u6e2c\u5b9a\u3059\u308b\u304b\u3068\u3044\u3046\u3053\u3068\u3082\u541f\u5473\u3055\u308c\u3066\u3044\u306a\u3044\u3068\u601d\u308f\u308c\u308b\u3002\u3057\u305f\u304c\u3063\u3066\u3001\u3053\u3053\u3067\u306f\u5358\u306b\u300e\u5eb7\u7199\u5b57\u5178\u300f\u304c\u898b\u51fa\u3057\u3068\u3059\u308b\u5b57\u304b\u3069\u3046\u304b\u3068\u3044\u3046\u3053\u3068\u3092scale\u3068\u3059\u308b\u304c\u3001\u305d\u306escale\u3092\u4f7f\u3046\u306a\u3089\u3070\u3001\u300c\u7d30\u5b57\u53cc\u884c\u300d\u5185\u3067\u306f\u300e\u5eb7\u7199\u5b57\u5178\u300f\u304c\u898b\u51fa\u3057\u3068\u3057\u3066\u3044\u306a\u3044\u5b57\u5f62\uff08\u6ce85\uff09\u304c\u4f7f\u308f\u308c\u308b\u3053\u3068\u304c\u3042\u308b\u3068\u3044\u3046\u3053\u3068\u306f\u3067\u304d\u308b\u3060\u308d\u3046\u3002<\/p>\n\n\n\n<p>\u3000\u300cBase Text\u300d\u3068\u3044\u3046\u6982\u5ff5\u3092\u8a2d\u3051\u308b\u3053\u3068\u304c\u3001\u65e5\u672c\u8a9e\u306e\u89b3\u5bdf\u3001\u7279\u306b\u30c6\u30ad\u30b9\u30c8\u3092\u5358\u4f4d\u3068\u3057\u305f\u65e5\u672c\u8a9e\u306e\u89b3\u5bdf\u306b\u3084\u304f\u3060\u3064\u3053\u3068\u306f\u7591\u3044\u304c\u306a\u3044\u3002<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p>\u6ce81\u3000\u300c\u30cf\u30b9\u30ce\u30cf\u300d\u306f1\u8a9e\u3067\u3042\u308b\u304b\u3001\u8a00\u8a9e\u306b\u304a\u3051\u308b\u300c\u8a9e\u300d\u3068\u306f\u4f55\u304b\u3068\u3044\u3046\u3053\u3068\u3092\u8b70\u8ad6\u3059\u308b\u5fc5\u8981\u306f\u3042\u308a\u3001\u305d\u306e\u3053\u3068\u306f\u65e5\u672c\u8a9e\u8868\u8a18\u3068\u6df1\u304f\u304b\u304b\u308f\u308b\u3068\u8003\u3048\u308b\u304c\u3001\u4eca\u3053\u3053\u3067\u306f\u300c\u30cf\u30b9\u30ce\u30cf\u300d\u30921\u8a9e\u3068\u307f\u308b\u3053\u3068\u306b\u3059\u308b\u3002\u307e\u305f\u9264\u62ec\u5f27\u306b\u7247\u4eee\u540d\u3092\u5165\u308c\u305f\u5834\u5408\u3001\u3069\u306e\u3088\u3046\u306b\u6587\u5b57\u5316\u3055\u308c\u3066\u3044\u308b\u304b\u3068\u3044\u3046\u3053\u3068\u3092\u96e2\u308c\u3066\u300c\u8a9e\u300d\u305d\u306e\u3082\u306e\u3092\u3042\u3089\u308f\u3057\u3066\u3044\u308b\u3002<\/p>\n\n\n\n<p>\u6ce82\u3000\u300e\u8b6f\u6ce8\u806f\u73e0\u8a69\u683c\u300f\u306f\u300e\u8a33\u6ce8\u806f\u73e0\u8a69\u683c\u300f\uff082008\u5e74\u3001\u5ca9\u6ce2\u6587\u5eab\uff09\u306b\u3088\u3063\u3066\u3088\u3080\u3053\u3068\u304c\u3067\u304d\u308b\u3002<\/p>\n\n\n\n<p>\u6ce83\u3000\u4eca\u91ce\u771f\u4e8c\u300e\u30ea\u30e1\u30a4\u30af\u306e\u65e5\u672c\u6587\u5b66\u53f2\u300f\uff082016\u5e74\u3001\u5e73\u51e1\u793e\u65b0\u66f8\uff09\u306f\u300c\u30ea\u30e1\u30a4\u30af\u300d\u306b\u3064\u3044\u3066\u3001\u8a00\u8a9e\u306b\u5bc6\u7740\u3057\u3066\u5177\u4f53\u7684\u306b\u8ff0\u3079\u3066\u3044\u308b\u3002<\/p>\n\n\n\n<p>\u6ce84\u3000\u300e\u5510\u8a69\u9078\u548c\u8a13\u300f\u306b\u306f\u5bdb\u653f2\uff081790\uff09\u5e74\u3001\u5bdb\u653f5\u5e74\u306b\u51fa\u7248\u3055\u308c\u305f\u521d\u7248\uff08\u51683\u518a\uff09\u3068\u6587\u653f6\uff081823\uff09\u5e74\u306b\u51fa\u7248\u3055\u308c\u305f\u518d\u7248\uff08\u51684\u518a\uff09\u3068\u304c\u3042\u308b\u3002\u5bdb\u653f2\u5e74\u306b\u306f\u300c\u4e94\u8a00\u7d76\u53e5\u300d\u3068\u300c\u4e03\u8a00\u7d76\u53e5\u300d\u3068\u5408\u8a082\u518a\u304c\u3001\u5bdb\u653f5\u5e74\u306b\u306f\u300c\u4e03\u8a00\u7d76\u53e5\u300d\u306e\u300c\u7d9a\u300d\u7bc71\u518a\u304c\u51fa\u7248\u3055\u308c\u3066\u3044\u308b\u3002\u6587\u653f6\u5e74\u306b\u306f\u300c\u4e94\u8a00\u5f8b\u8a69\u300d\u300c\u4e94\u8a00\u7d76\u53e5\u300d\u304c\u54041\u518a\u3001\u300c\u4e03\u8a00\u7d76\u53e5\u300d\u304c2\u518a\u3001\u5408\u8a084\u518a\u306e\u3057\u305f\u3066\u3067\u51fa\u7248\u3055\u308c\u3066\u3044\u308b\u3002\u56f35\u306f\u7a3f\u8005\u304c\u6240\u6301\u3057\u3066\u3044\u308b\u518d\u7248\u672c\u306e\u753b\u50cf\u3002\u5c71\u672c\u4f50\u548c\u5b50\u306f\u300c\u5d69\u5c71\u623f\u520a\u300e\u5510\u8a69\u9078\u548c\u8a13(\u3068\u3046\u3057\u305b\u3093\u304d\u304d\u304c\u304d)\u300f\u4e94\u8a00\u7d76\u53e5\u7de8(\u4e0a)\u300d\uff08\u300e\u540c\u5fd7\u793e\u56fd\u6587\u5b66\u300f90\u53f7\uff09\u306b\u304a\u3044\u3066\u3001\u300c\u518d\u7248\u672c\u306f\u8986\u523b\u3067\u306f\u306a\u304f\u3001\u521d\u7248\u672c\u3068\u5168\u4f53\u306e\u69cb\u6210\u30fb\u9801\u306e\u914d\u7f6e\u307e\u3067\u985e\u4f3c\u3057\u3066\u672c\u6587\u3082\u307b\u307c\u540c\u6587\u3060\u304c\u3001\u4eee\u540d\u5b57\u4f53\u3084\u4eee\u540d\u9063\u3001\u4e00\u90e8\u306e\u6f22\u5b57\u8868\u8a18\u304c\u7570\u306a\u308b\u3002\u7dcf\u30eb\u30d3\u306b\u8fd1\u3044\u8a69\u89e3\u306e\u632f\u308a\u4eee\u540d\u3068\u3057\u3066\u793a\u3055\u308c\u308b\u8a9e\u304c\u9055\u3046\u4f8b\u3082\u3042\u308b\u3002\u6f22\u8a69\u306b\u4ed8\u3055\u308c\u308b\u8a13\u70b9\u3082\u3001\u6368\u3066\u4eee\u540d\u306e\u4f7f\u7528\u306f\u521d\u7248\u306e\u307f\u3067\u3042\u308b\u306a\u3069\u3001\u82e5\u5e72\u306e\u9055\u3044\u304c\u3042\u308b\u3002\u518d\u7248\u672c\u7b2c\u4e00\u518a\u300c\u4e94\u8a00\u5f8b\u8a69\u300d\u306e\u5185\u5bb9\u3084\u8a00\u8a9e\u9762\u306e\u521d\u7248\u4e09\u518a\u3068\u306e\u5dee\u3082\u9451\u307f\u308b\u3068\u3001\u66f8\u8086\u5074\u306e\u610f\u56f3\u306e\u5909\u5316\u3092\u8003\u616e\u3059\u3079\u304d\u3060\u304c\u3001\u4e21\u7248\u306e\u5dee\u304c\u5bdb\u653f\u671f\uff5e\u6587\u653f\u671f\u306e\u8a00\u8a9e\u5909\u5316\u306b\u56e0\u308b\u4f8b\u3082\u3042\u308b\u3060\u308d\u3046\u300d\u3068\u8ff0\u3079\u3066\u3044\u308b\u3002\u3057\u305f\u304c\u3063\u3066\u3001\u753b\u50cf\u306b\u57fa\u3065\u3044\u3066\u672c\u7a3f\u304c\u8ff0\u3079\u305f\u3053\u3068\u306f\u3001\u3042\u304f\u307e\u3067\u3082\u518d\u7248\u306e\u7248\u9762\u306b\u304a\u3044\u3066\u6307\u6458\u3067\u304d\u308b\u3053\u3068\u304c\u3089\u3068\u3044\u3046\u3053\u3068\u306b\u306a\u308b\u3002\u300c\u65e9\u7a32\u7530\u5927\u5b66\u56f3\u66f8\u9928\u53e4\u5178\u5e2d\u7dcf\u5408\u30c7\u30fc\u30bf\u30d9\u30fc\u30b9\u300d\u306b\u304a\u3044\u30664\u518a\u306e\u3046\u3061\u306e2\u30fb3\u30fb4\u5408\u8a083\u518a\u306e\u753b\u50cf\u304c\u516c\u958b\u3055\u308c\u3066\u3044\u308b\u576a\u5185\u900d\u9059\u65e7\u8535\u672c\u306f\u6587\u653f6\u5e74\u7248\uff08\u518d\u7248\uff09\u3002<\/p>\n\n\n\n<p>\u6ce85\u3000\u4eca\u3053\u3053\u3067\u306f\u300c\u5b57\u4f53\u300d\u300c\u5b57\u5f62\u300d\u306b\u3064\u3044\u3066\u5b9a\u7fa9\u3092\u3057\u306a\u3044\u3067\u3001\u5358\u306b\u5b57\u306e\u5f62\u3068\u3044\u3046\u610f\u5473\u5408\u3044\u3067\u300c\u5b57\u5f62\u300d\u3068\u8868\u73fe\u3057\u3066\u304a\u304f\u3053\u3068\u306b\u3059\u308b\u3002<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image001-714x1024.jpg\" alt=\"\" class=\"wp-image-4069\" width=\"461\" height=\"660\" srcset=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image001-714x1024.jpg 714w, https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image001-209x300.jpg 209w, https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image001-768x1102.jpg 768w, https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image001.jpg 974w\" sizes=\"auto, (max-width: 461px) 100vw, 461px\" \/><figcaption>\u56f31\uff1a\u300e\u8b6f\u6ce8\u806f\u73e0\u8a69\u683c\u300f8\u4e01\u8868<\/figcaption><\/figure><\/div>\n\n\n\n<p><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image003-735x1024.jpg\" alt=\"\" class=\"wp-image-4070\" width=\"423\" height=\"589\" srcset=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image003-735x1024.jpg 735w, https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image003-215x300.jpg 215w, https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image003-768x1070.jpg 768w, https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image003.jpg 1034w\" sizes=\"auto, (max-width: 423px) 100vw, 423px\" \/><figcaption>\u56f32\uff1a\u300e\u8b6f\u6ce8\u806f\u73e0\u8a69\u683c\u300f8\u4e01\u88cf<\/figcaption><\/figure><\/div>\n\n\n\n<p><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"426\" height=\"562\" src=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image006.png\" alt=\"\" class=\"wp-image-4071\" srcset=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image006.png 426w, https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image006-227x300.png 227w\" sizes=\"auto, (max-width: 426px) 100vw, 426px\" \/><figcaption>\u56f33\uff1a\u548c\u523b\u672c\u300e\u806f\u73e0\u8a69\u683c\u300f\u4e0a\u518a4\u4e01\u88cf<\/figcaption><\/figure><\/div>\n\n\n\n<p><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"426\" height=\"621\" src=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image008.png\" alt=\"\" class=\"wp-image-4072\" srcset=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image008.png 426w, https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image008-206x300.png 206w\" sizes=\"auto, (max-width: 426px) 100vw, 426px\" \/><figcaption>\u56f34\uff1a\u548c\u523b\u672c\u300e\u806f\u73e0\u8a69\u683c\u300f\u8868\u7d19\u898b\u8fd4\u3057<\/figcaption><\/figure><\/div>\n\n\n\n<p><\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"426\" height=\"323\" src=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image010.png\" alt=\"\" class=\"wp-image-4073\" srcset=\"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image010.png 426w, https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-content\/uploads\/2023\/08\/image010-300x227.png 300w\" sizes=\"auto, (max-width: 426px) 100vw, 426px\" \/><figcaption>\u56f35\uff1a\u300e\u5510\u8a69\u9078\u548c\u8a13\u300f \u300c\u4e94\u8a00\u5f8b\u8a69\u300d<\/figcaption><\/figure><\/div>\n\n\n\n<p><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<h3 class=\"has-text-align-center wp-block-heading\">The Architecture of Written Japanese <br>10 The Base Text<\/h3>\n\n\n\n<h4 class=\"has-text-align-right wp-block-heading\">Chris Lowy<\/h4>\n\n\n\n<p>The past three installments of this series introduced the concept of furigana, its use in contemporary fiction, and the various ways authors mobilize furigana to achieve a myriad of desired results. The existence of furigana is, perhaps, the most interesting characteristic of written Japanese. Recall that, despite its name \u2013 literally, assigned or allotted kana \u2013 furigana can be in any script and can be applied to any base text. Furthermore, if the reader will indulge me some, the very possibility of attaching furigana to a base text creates a situation in which there are always some (invisible) reading(s) behind all unannotated text. This space of possibility wherein expression is born, the base text, is the focus of this installment<strong>.<\/strong><\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>The Ubiquity of the Base Text<\/strong><\/h2>\n\n\n\n<p>I have so far explored the following characteristics of what I call the architecture of written Japanese: the continuous use of three character sets, the presence of typographic markers adapted from both Chinese and Western sources, bidirectionality in right-originating vertical writing and left-originating horizontal writing, ubiquitous and predictable space distribution, and furigana. The text that exists regardless of the presence of furigana \u2013 but for whom furigana\u2019s existence is contingent upon \u2013 is called the <strong>base text<\/strong>, the next characteristic of written Japanese.<\/p>\n\n\n\n<p>In most cases, the base text alone is sufficient for the successful communication of ideas. Even if one cannot \u201ccorrectly\u201d read a character or character-string \u2013 \u201ccorrect\u201d here referring to its reading and not its denotative meaning \u2013 it should, in theory, be comprehensible.[1] The base text as it appears before a reader is static: it is a snapshot of the visual representation of language, a fossilized relic of an author\u2019s (or editor\u2019s) script practice that are in turn presented to a reader. I am being careful with my words here for the simple reason that a base text can change when it\u2019s reading and denotative meaning do not. For example, the famous opening lines of Natsume Soseki\u2019s <em>I Am a Cat <\/em>(1905), \u201cWagahai wa neko de aru. Na wa mada nai.\u201d (\u201cI am a cat.&nbsp;As yet I have no name\u201d), regularly appears in two variant base texts.[2]<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>\u543e\u8f29\u306f\u732b\u3067\u3042\u308b\u3002\u540d\u524d\u306f\u307e\u3060\u7121\u3044\u3002<br><ruby>\u543e\u8f29<rp>(<\/rp><rt>\u308f\u304c\u306f\u3044<\/rt><rp>)<\/rp><\/ruby>\u306f\u732b\u3067\u3042\u308b\u3002\u540d\u524d\u306f\u307e\u3060\u7121\u3044\u3002<\/p><\/blockquote>\n\n\n\n<p>The difference here, namely, the presence or absence of furigana on the character-string \u543e\u8f29, is unremarkable. Inconsequential though it may seem, the phenomenon these differences suggest \u2013 that different base texts can only be identified through visual access to the text \u2013 is significant. In certain contexts, those differences can, and do, shape meaning. Consider the following ten sentences.<\/p>\n\n\n\n<p>(i)\u3042\u308c\u306f\u304d\u306e\u3053\u3067\u3059\u3002<br>(ii)\u3042\u308c\u306f\u30ad\u30ce\u30b3\u3067\u3059\u3002<br>(iii)\u3042\u308c\u306f\u8338\u3067\u3059\u3002<br>(iv)\u3042\u308c\u306f\u83cc\u3067\u3059\u3002<br>(v)\u3042\u308c\u306f\u8548\u3067\u3059\u3002<br>(vi)\u30a2\u30ec\u306f\u304d\u306e\u3053\u3067\u3059\u3002<br>(vii)\u30a2\u30ec\u306f\u30ad\u30ce\u30b3\u3067\u3059\u3002<br>(viii)\u30a2\u30ec\u306f\u8338\u3067\u3059\u3002<br>(ix)\u30a2\u30ec\u306f\u83cc\u3067\u3059\u3002<br>(x)\u30a2\u30ec\u306f\u8548\u3067\u3059\u3002<\/p>\n\n\n\n<p>For the sake of argument let\u2019s assume that each sentence is meant to be read <em>are wa kinoko desu<\/em> (\u201cthat [over there] is a mushroom\u201d). We now have ten examples of the same utterance represented with ten different base texts. Some are more common than others (i, ii) while others stand out due to their visual representation of both the demonstrative <em>are<\/em> and the word for mushroom, <em>kinoko<\/em> (viii-x). Nevertheless, each of these base texts are possible and, within an established environment (what we might call a particular author\u2019s <strong>text-world<\/strong>), potentially mundane. The point here is that each of these base texts represent an authorial choice: remember, within the architecture of written Japanese a conventional mode of visual representation is still a choice. This question of choice and the base text, for example, figures prominently in the work of author Sakiyama Tami. In Sakiyama\u2019s 2014 short story \u201cQ-Village Front Lines b,\u201d the following words appear in katakana in the base text without further annotation: \u30aa\u30c8\u30b3 (<em>otoko<\/em>; man), \u30e2\u30ce (<em>mono<\/em>; thing), \u30d2\u30c8\u30d3\u30c8 (<em>hitobito<\/em>; people), \u30e0\u30e9 (<em>mura<\/em>; village), \u30b1\u30a4\u30ab\u30af(<em>keikaku<\/em>; plan), \u30af\u30f3\u30ec\u30f3 (<em>kunren<\/em>; training), \u30e0\u30e9\u30d3\u30c8 (<em>murabito<\/em>; village people), \u30d2\u30c8(<em>hito<\/em>; people), \u30a2\u30f3\u30bf (<em>anta<\/em>; you), \u30c6\u30ad (<em>teki<\/em>; enemy), \u30dc\u30af(<em>boku<\/em>; I), \u30b8\u30c3\u30bf\u30a4(<em>jittai<\/em>; substance), and \u30b3\u30c8\u30d0 (<em>kotoba<\/em>, language).[3] Each of these words are typically written in Sinographs or hiragana.<\/p>\n\n\n\n<p>I see hands in the air, largely from the literary scholars in the back of the room. \u201cOkay, fine, but what, if anything, do these choices <em>mean<\/em>,\u201d you ask. Don\u2019t worry, we\u2019ll get to that. Strategies for deriving meaning from these little choices will be the topic of an entire installment. For now, though, we consider the significance of the co-dependent relationship between the base text and furigana.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>The Limits of the Base Text<\/strong><\/h2>\n\n\n\n<p>I see another hand in the back \u2013 yes, you are indeed correct. The Latin script, too, has a base text. In fact, all written languages must have a base text. Without it there would be nothing to read. The critical difference between the base text of written Japanese and that of English is that the former is regularly subjected to annotation while the latter is not. This is one reason that texts written in the Latin script are expected to adhere to normative orthographical standards. Put another way, the architecture of written Japanese is tolerant of variation because the constant possibility of annotation blurs the line between correct and incorrect while the lack of annotation in written English enables the establishment of fixed orthographical rules dictating a (base) texts\u2019 correctness.[4] If the architecture of a script does not allow for standardized variation, it seems reasonable that authors would not look to that script to create visual representation. [5] This does not, however, mean that some authors have not tried to incorporate visual elements into their representation of written language.<\/p>\n\n\n\n<p>For example, consider the opening poem by E. E. Cummings in his classic <em>95 Poems<\/em> (1958).<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>l(a<br><br>le<br>af<br>fa<br><br>ll<br><br>s)<br>one<br>l<br><br>iness<\/p><\/blockquote>\n\n\n\n<p>The poem initially confuses the reader. At first glance one is tempted to return the book to its place on the shelf (or, as is more likely today, to return to the home screen of an eBook reader). But the ice of confusion begins to melt: we first identify \u201cone\u201d before our eyes jump to \u201ciness\u201d \u2013 aha!, with that hanging \u201cl\u201d we understand \u201coneliness.\u201d Back at the beginning and the initial \u201cl\u201d \u2013 for a second, we wonder if it is to be read as \u201cone\u201d \u2013 comes into play: we now have \u201cloneliness.\u201d We return to the parentheses and what they contain, and it all makes sense: l(a leaf falls)oneliness. The lack of space between the letters and parentheses suggests something other than a parenthetical; it creates simultaneity. The occurrence of this single leaf falling does not cause loneliness but, instead, occurs while one is in the throes of it. There is also motion. The simultaneity of these two states does not mean the two occurrences are of the same duration. Rather, the initial snap and ensuing downward twirl of the leaf is contained within the sensation of the poet-subject\u2019s loneliness. We don\u2019t know if the subject is watching this embodiment of their melancholy, but we do know that this fallen leaf-loneliness has reached the ground. By the end of the poem the two images have fused together. Mitchell Morse, quoted in Richard S. Kennedy\u2019s reevaluation of Cummings\u2019s work, argues that this poem is a \u201ccompact visio-literary experience\u201d that carries the \u201cspirit\u201d of a haiku.[6] I\u2019m not qualified to evaluate the absence or presence of a haiku \u201cspirit,\u201d but the successful juxtaposition of two images \u2013 a \u201ccompact visio-literary experience\u201d \u2013 is noteworthy.<\/p>\n\n\n\n<p>I dwell here on Cummings\u2019 poem to demonstrate that while, yes, the visual representation of language in an alphabetic script environment is <em>possible<\/em> it is not easily achieved. The way Cummings creates this \u201ccompact visio-literary\u201d moment of leaf-loneliness is not easily reproducible. Rather, it is only by jamming an entire phrase (\u201ca leaf falls\u201d) inside a word (\u201cloneliness\u201d) that the two images can fuse (and confuse). Cummings must resort to such extreme measures because he has only a base text to work with. As I argue throughout this essay series, those who wish to push a written language to its limits must do so <em>within the architecture <\/em>of the script(s) they write in.<\/p>\n\n\n\n<p>On the other hand, within the architecture of written Japanese the possibility for combining two words or phrases in a way reminiscent of Cummings can be easily achieved by attaching furigana to the base text. This gives an author two ways to reproduce Cummings\u2019 experiment. For example, one might combine \u201ca leaf falls\u201d (<em>hitoha otsuru<\/em>) with \u201cloneliness\u201d (<em>sabishisa<\/em>) in the same way Cummings does.[7]<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>\u3055\uff08\u3072<br><br>\u3068<br>\u306f<br>\u304a<br>\u3064<br>\u308b\uff09<br><br>\u3073\u3057\u3055<\/p><\/blockquote>\n\n\n\n<p>The result, \u3055\uff08\u3072\u3068\u306f\u304a\u3064\u308b\uff09\u3073\u3057\u3055, or <em>sa(hitoha otsuru)bishisa<\/em>, recreates the imposition of a phrase (<em>hitoha otsuru<\/em>) into the middle of a word (<em>sabishisa<\/em>). This would be as irregular in written Japanese as it is in English.<\/p>\n\n\n\n<p>Another, more mundane option, is to place one image on top of another. Since the phrase \u201ca leaf falls\u201d appears inside \u201cloneliness\u201d I will take the latter as the primary utterance and thus as the base text.<\/p>\n\n\n\n<p><ruby>\u3055\u3073\u3057\u3055<rp>(<\/rp><rt>\u3072\u3068\u306f\u304a\u3064\u308b<\/rt><rp>)<\/rp><\/ruby><\/p>\n\n\n\n<p>The two images become one (visual) moment. Alternatively, an author might choose to use (any number of) Sinographs in the base text.<\/p>\n\n\n\n<p><ruby>\u5bc2\u3057\u3055<rt>\u3072\u3068\u306f\u304a\u3064\u308b<\/rt><rp>)<\/rp><\/ruby><br><br><ruby>\u6dcb\u3057\u3055<rp>(<\/rp><rt>\u3072\u3068\u306f\u304a\u3064\u308b<\/rt><rp>)<\/rp><\/ruby><\/p>\n\n\n\n<p>Using Konno\u2019s term, this is an example of furigana-as-expression (<em>hy\u043e\u0304gen toshite no furigana<\/em>). Furigana-as-expression, a phenomenon related to the \u201cvisio-literary\u201d moment Morse detects in Cummings\u2019 poem, is everywhere in literature written in the Japanese script. An interesting illustration of such a moment, chosen at random, is from the Japanese translation by Kuroma Hisaishi of William Gibson\u2019s classic piece of science fiction, <em>Neuromancer<\/em> (1984).<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Cath rocked back on her tanned heels and licked at a strand of brownish hair that had pasted itself beside her mouth. \u201cWhat\u2019s your taste?\u201d<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cNo coke, no amphetamines, but <em>up<\/em>, gotta be <em>up<\/em>.\u201d And so much for that, [Case] thought glumly, holding his smile for her.<br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \u201cBetaphenethylamine,\u201d she said. \u201cNo sweat, but it\u2019s on your chip.\u201d[8]<\/p><p>\u3000\u30ad\u30e3\u30b9\u306f\u65e5\u707c\u3051\u3057\u305f\u8e35\u306b\u4f53\u91cd\u3092\u79fb\u3057\u3066\u3001\u53e3\u306e\u8107\u306b\u5f35\u308a\u3064\u3044\u305f\u8336\u8272\u3063\u307d\u3044\u9aea\u3092\u4e00\u7b4b\u306d\u3076\u308a\u3001<br>\u300c\u304a\u597d\u307f\u306f\u30fb\u30fb\u30fb\u30fb\u30fb\u30fb\u300d<br>\u300c<ruby>\u30b3\u30ab\u30a4\u30f3<rp>(<\/rp><rt>\u30b3\u30fc\u30af<\/rt><rp>)<\/rp><\/ruby>\u306f\u99c4\u76ee\u3001\u30a2\u30f3\u30d5\u30a7\u30bf\u30df\u30f3\u3082\u99c4\u76ee\u3001\u3068\u306b\u304b\u304f<ruby>\u523a\u6fc0\u7684<rp>(<\/rp><rt>\u30a2\u30c3\u30d7<\/rt><rp>)<\/rp><\/ruby>\u306b\u3001<ruby>\u899a\u9192\u7684<rp>(<\/rp><rt>\u30a2\u30c3\u30d7<\/rt><rp>)<\/rp><\/ruby>\u3067\u300d<br>\u8a00\u3063\u3066\u307f\u308c\u3070\u305d\u3046\u3044\u3046\u3068\u3053\u308d\u3067\u3001\u3068\u3075\u3055\u304e\u3053\u307f\u306a\u304c\u3089\u3082\u3001\u30b1\u30a4\u30b9\u306f\u76f8\u624b\u306b\u306f\u7b11\u9854\u3092\u5411\u3051\u308b\u3002<br>\u300c\u30d9\u30fc\u30bf\u30d8\u30cb\u30c1\u30eb\u30a2\u30df\u30f3\u306d\u300d<br>\u3000\u3068\u30ad\u30e3\u30b9\u306f\u8a00\u3044\u3001<br>\u300c\u7c21\u5358\u3088\u3002\u305f\u3060\u3057\u3001\u304a\u4ee3\u306f\u3042\u3093\u305f\u306e<ruby>\u7d20\u5b50<rp>(<\/rp><rt>\u30c1\u30c3\u30d7<\/rt><rp>)<\/rp><\/ruby>\u306b\u304b\u304b\u308b\u3051\u3069\u3002\u300d<a href=\"#_ftn9\">[9]<\/a><\/p><\/blockquote>\n\n\n\n<p>Betaphenethylamine, or Beta for short, is a powerful stimulant. And for Case, who altered his body to no longer metabolize cocaine or amphetamines in an attempt to curb his drug addiction, it was the only option left for chemical stimulation. This short passage alone contains four examples of visio-literary moments, though I will only discuss the most interesting: two common character-strings \u2013 \u523a\u6fc0\u7684 (<em>shigekiteki<\/em>; stimulating, provocative) and \u899a\u9192\u7684 (<em>kakuseiteki<\/em>; stimulating, arousing) \u2013 are both assigned the same <em>appu<\/em> reading. The (katakana spelling of the) English word \u201cup\u201d and, indeed, all the furigana in this section, indicate Kuroma\u2019s desired word-form. That is, the relationship between <em>appu<\/em> (which most readers of Japanese would associate with the English word \u201cup\u201d) and its meaning of \u201cgetting high\u201d is tenuous within a Japanese language environment. Nevertheless, Kuroma insists on establishing this association, succeeding in doing so by fusing the two images together with furigana. This particular \u201cvisio-literary\u201d moment is not ancillary to the text; it <em>is <\/em>the text. Put another way, Kuroma\u2019s translation strategy is to rely neither on the base text or the furigana. It is the combined moment that creates meaning, meaning created in the dialogue between the base text and the furigana attached to it.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><strong>Why Possibilities Matter<\/strong><\/h2>\n\n\n\n<p>Thinking in terms of binary oppositions is not as fashionable as it once was. Nevertheless, the significance of the base text changes within an architecture of script that has normalized interlinear glossings, i.e., furigana, and one that does not. In a script system that lacks furigana, we can say that the base text exists opposite of its absence: there is either text or there isn\u2019t. While this is also true in a script system that does have furigana, it is also true that the base text exists opposite to its glossings. In other words, a base text is a base text because it isn\u2019t furigana; conversely, furigana is furigana if it resides above the base text. Understanding this absolute relationship between the base text and the capability for annotation will allow us to consider the final two characteristics of the Japanese writing system: interchangeability and an expansive (or \u201copen\u201d) set of Sinograph and Sinograph-like characters. Interchangeability, which is the ability to write the same utterance in a variety of word-forms, is the topic on the next installment.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p>[1] Such acts of misreading are, of course, not limited to Japanese. For example, I care not to disclose the age at which I began correctly pronouncing \u201cepitome.\u201d Despite my misreading, in my mind both <em>eh-pih-tome<\/em> and <em>uh-pih-toe-me<\/em> meant \u201cthe best example of [x].\u201d<\/p>\n\n\n\n<p>[2] I\u2019ve borrowed M\u014dri Yasotar\u014d\u2019s translation of the opening lines.<\/p>\n\n\n\n<p>[3] \u201cQ-Village Front Lines b\u201d (Q mura sensen b) were first published in the literary journal <em>Subaru <\/em>(2015) and is contained in <em>Unjuga, nasaki<\/em>, Hanashoin, 2016.<\/p>\n\n\n\n<p>[4] The establishment of a fixed orthography was not an inevitable outcome of the architecture of the Latin script. On the contrary: the goal of establishing a fixed orthography, an important step in the creation of a standard written English, was achievable within the architecture of the Latin script by creating fixed spellings. The desire for standardization was shaped by the capabilities of the Latin script. Conversely, the architecture of the Japanese script would mold notions of standardization into different shapes.<\/p>\n\n\n\n<p>[5] I am speaking in generalities here. There will always be examples of authors pushing back against standard orthographical practices and what it represents. Ezra Pounds\u2019 <em>The Cantos<\/em> is printed in an often erratic style while (in)famously containing Sinographs throughout the text and indeed within the base text itself. Closer to the present day, Theresa Hak Kyung Cha\u2019s haunting <em>Dictee<\/em> (1982) contains unannotated Korean and Chinese text throughout. One could imagine any number of variations of <em>That is a mushroom<\/em>: that is a mushroom \/ tHat is a mushroom \/ thAt is a mushroom \/ thaT is a mushroom \/ THAT IS A MUSHROOM \/ THAT IS A MUSHROOm, etc., but such examples are almost unimageable and would certainly not fall into the category of standardized variation. An example of standardized variation created within a particular text-world would be the use of eye-dialect, the non-standard spelling of words intended to suggest extra-textual information such as education, class, and race.<\/p>\n\n\n\n<p>[6] Kennedy, Richard S., <em>E.E. Cummings Revisited<\/em>, Twayne, 1994: 131.<\/p>\n\n\n\n<p>[7] I have translated \u201ca leaf falls\u201d into <em>hitoha otsuru<\/em>, the nominalized form of <em>hitoha otsu <\/em>in literary Japanese, to bring the phrase into agreement with \u201cloneliness\u201d (<em>sabishisa<\/em>), itself a noun.<\/p>\n\n\n\n<p>[8] Gibson, William.&nbsp;<em>Neuromancer<\/em>. New York: Ace, 1984, 133-4.<\/p>\n\n\n\n<p>[9] Gibson, William.&nbsp;<em>Neuromancer<\/em>. Trans. Hisashi Kuroma. Tokyo: Hayakawa Bunko, 2005, 233.<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"\u4eca\u91ce\u771f\u4e8c&nbsp; \u7b2c7\u56de\u3067\u306f\u632f\u4eee\u540d\u3092\u8a00\u8a9e\u4e8b\u8c61\u3068\u3057\u3066\u63a1\u308a\u3042\u3052\u305f\u3002\u300c\u8a9e\u300d\u3092\u5358\u4f4d\u3068\u3057\u3066\u8003\u3048\u305f\u5834\u5408\u3001\u6f22\u5b57\u5217\u306b\u65bd\u3055\u308c\u3066\u3044\u308b\u632f\u4eee\u540d\u306f\u3001\u3072\u308d\u304f\u6f22\u5b57\u5217\u306b\u3064\u3044\u3066\u306e\u300c\u6ce8\u91c8\u300d\u3068\u307f\u308b\u3053\u3068\u304c\u3067\u304d\u308b\u3002\u305f\u3060\u3057\u3001\u300c\u66f8\u304d\u624b\u300d\u3068\u300c\u8aad\u307f\u624b\u300d\u3068\u3067\u306f\u300c\u6ce8\u91c8\u300d [&hellip;]","protected":false},"author":6,"featured_media":3405,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15,16,395,396,411],"tags":[],"class_list":["post-4068","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rensai","category-chosha","category-395","category-chris-lowy","category-architecture"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/4068","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/comments?post=4068"}],"version-history":[{"count":7,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/4068\/revisions"}],"predecessor-version":[{"id":4080,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/posts\/4068\/revisions\/4080"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/media\/3405"}],"wp:attachment":[{"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/media?parent=4068"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/categories?post=4068"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hituzi.co.jp\/hituzigusa\/wp-json\/wp\/v2\/tags?post=4068"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}